Masterclass sobre Cinema 4D: o guia definitivo para Cinema 4D

1. Welcome: Hi and welcome to the cinema 4D masterclass. My name's Ozgur. I'm a filmmaker, motion designer and a Maxon certified instructor for Cinema 4D. I've designed this master class to teach you how to use cinema 4D from the ground up. So by the time you completely training, you'll be able to create some amazing looking 3D renders and animations. We'll start the training with the foundations of Cinema 4D so I'm going to assume that you're a complete beginner. But even if you have used this software before, you'll still learn lots of new tips to speed up your workflow that you wish you knew before. If you've being trying to teach yourself how to use cinema 4D you know it's not the easiest application to learn on your own and you're bound to have gaps in your knowledge. This course will certainly fill those gaps. We'll cover topics like modeling, texturing, animation, lighting and rendering. I've been using Cinema 4D for about 20 years now, and I've created this course with the skills I've mastered over these years. So if you're ready to learn how to use Cinema 4D like a professional, let's get started! 2. Getting to Know C4D - Interface: the first time you start cinema 40. This is the interface you'll be seeing now if you haven't used application before. I know this may feel and seem a little too intimidating at first, but trust me, by the time you reach the end of the Siri's, you'll be able to understand and actually work with all these different tools you see in front of you. So let's start with the basics. The interface of Cinema 40 is divided into different sections called managers. Each manager is responsible for a specific task towards the top right corner of the screen . You see the objects manager Objects manager is responsible for displaying every single object you create inside the cinema. 40. These will include things like actual three D models. You create reference files, lights, floors, skies, you name it. Whatever you creating cinema, 40 will first have to exist inside objects. Manager. Underneath the Objects Manager. You have your attributes. Manager. The task off the attributes manager is to display settings or the attributes off. Whatever you have selected right now, because we haven't selected anything because we don't have anything in this scene, it shows us the settings or the attributes off the actual project. These will include things like the units that we use. The frame rates, the color off the default objects that we create on more to the left off. The attributes manager is the coordinates manager, the coordinates manager who show us information such as position, scale and notation off objects and to the left off. The coordinates manager is the materials manager, but we'll see all the materials we create within the scene right above the materials and the coordinates managers is your timeline area. This is the area you'll be using a lot when it comes to creating and previewing animations right above the timeline. This massive area in the center is called the View Port. The report is perhaps the most important part of the interface. Using the reports, you'll be able to preview what you create. You can think off the view port almost like a window that opens into your three d world. You will be able to see animations that you create in here. You'll do quick renders here on more right above and to the left. Off the View port are some set of tools which will be talking about in a lot more detail later on and above the tools at the top. You see the main menu in the next chapters will be talking about how to actually use these different tools and panels in a lot more detail. 3. Getting to Know C4D - Preferences: in this video, I will show you how to reset the preferences in cinema 40. You may be asking yourself two questions. First, what are the preferences? Second, why do I need to reset them? The preferences are some set of files that dictate how cinema 40 works, and you do need to reset them every now and then in order to put cinema 40 back on track. Well, do I mean by that? As you work in Cinema 40 along the way, you'll find yourself tweaking the preferences sometimes on purpose, sometimes inadvertently, and there will be a point where you want to take all the preferences back to their initial states when you first install the application. This is where resetting the preferences can become really handy. Let me show you how it's done in order to first see the preferences we need to go to the edit menu here and then right towards the bottom is an option that says preferences. The shortcut is command E. Let me just go and click on this, which will bring up the preferences menu here, and in order to reset the preferences, you come right to the bottom of this panel on There's a button here that says Open Preferences folder. You click on this, which will take you into the specific folder on your computer that contains the preferences files. All the preferences files are in here in the press folder on All you need to do is to go and trash this entire folder by right clicking on it and moving it to the trash. And then you can quit this and then you can quit the preferences. And next time you start Cinema four D, it will recreate the preferences folder automatically so that it looks and behaves exactly the way it did when you first installed the application. While we're on the topic of preferences, they show you one preference that I'm going to turn off. Actually, right now, you may be seeing all these areas that are highlighted yellow. This is also a future or a preference, which you can turn off. These yellow areas basically highlight new futures in this current version, for example, they've updated this camera. So as I click on this camera, you can see on the camera that gets created in Objects manager and in the attributes manager. There's this spherical option, which is yellow, which means this has been added or updated recently. And as I keep clicking on the same button, you see the color will gradually fade away. And eventually, if I keep clicking again and again, eventually it will turn itself off because it will know that I've used this enough. So hopefully I now know what this spherical button does. Now, let me go and delete all these cameras first, by selecting them all by clicking and dragging on them, pressing delete on the keyboard, and then I'm going to go to my preferences on. Then this is the option that I'm going to turn off where it says highlight features. I'm gonna click and turn us off so that the yellow highlights disappear that I'm gonna come out of this. So from now on, it's not going to show me any of those highlights. 4. Getting to Know C4D - Navigation 1: in this video, I'll show you how to navigate around three D space in Simmer 40. Now, in order to move yourself around or your camera around in three D space, you're going to need to use the one true or the three keys on the keyboard. And these keys can be the ones on the main keyboard or the ones on the numeric keypad, depending on the layout, off your keyboard together with most of the times your left mouse button. Here's what I mean, if you hold on Number one and left, click and drag. This is called panning, so you'll be moving around space like this so you can go up, down, left and right called penning. If you hold on Number two and then click and drag, you can zoom in or out. And if you hold on number three and click and drag, you can do this thing called orbiting, so you move around the space. While I was doing this, you might have noticed three arrows in the center of the screen. Now these arrows are called X axis. Why access? And the said Access X is always going to be pointing left to right and why is always pointing up and down and set is always pointing backwards and forwards, and these arrows are color coded, so X is always going to be read. Why is always going to be green and set is always going to be blue. One easy way to remember this is if you write down X Y and zed on top of each other on right next to it. If you write down RGB like the RGB color mode that you may be familiar with, and if you put them side by side, X always corresponds to read. Why always corresponds to green and said Always corresponds to blue. That's an easy way to remember it. If you ever forget these shortcuts the 12 and three short cuts, which are really useful, so you shouldn't forget them. But let's say you did. If you go to the top right corner off your view Port. You had the one key here and two and three. So if I click and drag this button around, that's the same thing as doing one and drag, and this is the same as clicking tool and dragging, and this is the same as three and drag. And there's one more button on the site, which is a middle click if you're using a three button mouse like the ones with the wheels . If you actually click on the wheel, it's same as clicking on this button. If I click on this, this takes me after the four of you, which shows me the perspective you, which is what I was looking at earlier, and then the same scene from the top and from the rights and the front. So these other views, called Orta graphic views are going to quite useful when it comes to modeling precisely on animating exactly where you want the objects to go to and alternates away off. Opening those windows up is by pressing F five on the keyboard. So if I just tapped Fife, it takes me back up to this four of you the autograph IQ views and I can actually use the F keys going from F one, which is the perspective you and F two is the top U F three is the right view on a four is the front view and a five finally, is the four of you the perspective top right and front views all at the same time. At any point. If I grew up here and suppress, if one that's going to take you back to the perspective, you where I was that originally earlier on, we said that the 12 and three keys are usually used with the left mouse button. Now, sometimes you actually use these keys together with the right mouse button in order to first change the perspective off the camera and, secondly, to tilt the head off the camera. Here's what I mean. Normally we know this. If I all down to and left click and drag towards right, we know that this pushes us in, and if I drag towards left, it pulls us back out. But instead of the left click, if I right click with the turkey and dragged towards right instead of pushing us in, it actually zooms in. So it changed the focal length off lens or, if I drag towards left it again, zooms out instead of pulling us out. So again it changed the focal length of the lens, going towards the wide angle lens now, and same thing works. If I hold down number three instead of left clicking, which is orbiting around the scene. If I right click with number three and drag towards left or right, this will tilt the head off the camera. As such, When you make a change like this and you want to go back to your previous view, the best way to do that is by going to the cameras menu at the top and you pick any other camera from here. Let's say I pick the left of you and if I go back to cameras and pick the perspective camera again, it takes us back to how it was set initially. 5. Getting to Know C4D - Navigation 2: depending on whether or not to have objects in the scene. The 12 and three keys are going to behave differently, especially the two and three keys. Here's what I mean, if I hold down true and if I left click and drag towards rights, you'll see that it zooms in away from the objects where my mouth waas and if I drag towards left, it zooms back out so I can see the objects again. But if I move my mouse towards the off this total and if I'd then left click with the two key still held down and drag towards write it this time zooms into the off the turtle. And if I drag towards left, it zooms out from the eye of the turtle. On the same thing applies to number three as well. If I hold on three and that's a I click on the head of this mushroom and if I click and drag, you see that the point that I clicked on becomes the anchor point for the pivot points for the rotation or the orbit off my camera if I click away from the objects with the three key held down and drag. It uses the center off the screen to rotate. From now, there's a really useful shortcut that you should know on that's quite specific. To see Number 40 you may be familiar with the shortcut controls that or command said on the Mac. For example, if I select something and delete it by pressing delete on the keyboard that disappears and to bring it back, we simply press commander controls Ed. And this command is called an do on its up here on the top left corner as well instead of command, said, If I press command, Shift said, this is an undue for the perspective change. So if I go press command, Shift said, it takes me back by one step and I can keep doing this. I can press command Shift said again and again and again. And every time I press command shift that it takes me back by one step to the previous view that I had before this current view, and in order to go forward by one step, you press command shift and why? So if I press command shift, why, it takes me forward by one step and again and again and again. So every time I press command shift, why it goes forward, Command Shift said. It goes backwards. Onley in the perspective, change off the camera, the regular undo and redo our command said on command. Why at this point I should also mention that you can only go back by 30 steps if you want to increase that number so it can press commands that more than 30 times. That's something you can change under the preferences. So if you go to edit preferences and it's going to be under the memory tab on the left on its this option here called undo Depth. So if I increase this from 32 let's say 50. This now means that I can go back by 50 steps. However, keep in mind that this is using the ram off your computer. So if you're RAM is limited, you may want to decrease this number in order to keep cinema 40 running smoothly. 6. Parametric Objects - Parametric Objects and the Attributes Manager: in Cinema 40. There are different types of objects, and they will appear and behave differently, depending on how and men use them. The first kind of these objects is the primitive or the parametric object. Now the reason why the object is called a parametric object is because when you create it, Cinema 40 we'll give you a set of parameters that you can tweak. And depending on what you do with these parameters, the object will appear and behave differently. You can find the parametric objects up here to Cuba is. So if I click and hold it down on this cube icon, this is a list off all the parametric objects that you get. So let's start with the most basic one that say, for example, the cube. On As soon as you created, you've seen the Objects manager. The Cube appears as well as the objects manager. The attributes manager will also get populated with the parameters off the cube now, so let's have a look at what these parameters are. So let's start with the basic top. Inside the basic tub. You have the basic controls, like the name which I can change your so fucking and double click on the name here. I can change its default name from Cuba to, let's say a box. And as soon as I press enter, you'll also see that the name changes in the Objects manager so the two are linked to each other. And just below the name you get the layer field, and underneath the layer field, you get the visibility for the editor and the visibility for the renderers. Now, what is the difference between the two? Let me explain these too, By the way, the visible in editor and the visible in render are the same controls as these two great buttons up here. These buttons are called the traffic lights, and you see why they're called the traffic lights. Because when you click on that, say the top one, you see it turns green, and if I click on it again, it turns red. And as soon as it turns red, you see the object from the report will disappear. And if I click on this again, it turns back to Grey, which makes the object visible again. Now, why is that true? You may be asking yourself, there's something in cinema vote he called rendering. And simply, if you press command are you will get rid of all the extra information, like the grid, the floor and the lights and everything else, and it will show you just the objects that you created insane. Now this effectively is what you'll be saving out from Cinema 40. And when you want to go back to the previous you, you can either click on an object in the scene or you can press a on the keyboard to redraw the scene. So why do we have two buttons here now? The top button is the visibility off what you're seeing right now in the report, as you edit to see. So if I go and click on the start button once, twice so it turns red. And if I render this now, so command are it will still be visible because I didn't turn the visibility off on the button underneath. So if I press A to redraw this, I can make this appear again by clicking on this red button now because gray and if I come down and click on the bottom one, so if I click once it turns green click again. It turns red, and this means that it will be invisible when you render it, which means I cannot see it. But as soon as I press command are, it will be invisible. You may be asking yourself the wise, this a useful thing. Imagine you're modeling your house now where your modeling the house. You probably don't want to see the outer walls. Otherwise they will get in the way, and you won't be able to see what's happening on the inside so I can make the outer walls invisible while you're working. So that would be the visibility in the editor. And then when you render it, you obviously want to head out of walls. So you then make visible in the rendered view, but you make it invisible in the editor of you on. Another example for the exact opposite is, let's say, for example, you want to use this cube that we have in front of us in order to line up six different objects around the Cube. Now you're going to be using the cube Onley tow line things up, but eventually, when you render, you don't want the cube to be there In that case, you can make the Cube invisible in the rendered view, so that would be the second button. If you would like to change both of these buttons at the same time, you can hold down bolts on the keyboard and click on either one of these, and it will turn them on or off both at the same time. So if I hold on Olt and click, both of them will turn green. And if I hold on all 10 click again, they'll both turn red an old click one last time. We'll take both of these back to their default, which were great. Now the fact that we had the gray option as well. The default option is going to be useful when we talk about parenting on the parenting is one of the most important subjects in cinema. 40 on. We will be talking about that in one of the future movies. Next to these points is a little tick mark. I can go and click on this tick, and it will turn into a cross on if it's set to a Red Cross. That means that the object is invisible as well as being disabled. Now there's a difference between being disabled on being invisible, for example. Imagine you're creating a floor on you on the floor to be invisible. Now. We can do that by using the visibility options, which has talked about. And if there's a floor that's invisible, you can still make that interact with other objects. For example, let's say you want some bulls to bounce off the floor. You can make the floor invisible, and still the bulls will bounce off that floor. But if you make it disabled, which is this Red Cross, the object will behave as if it doesn't exist. So if it's disabled, it won't be able to interact with the objects. It won't be able to do anything. It's as if it doesn't exist, whereas if it's invisible, it does exist. It's just not visible, and the enabled or disabled states off. The objects can also be changed down here, so if I go to enabled I can turn us on, that's going to turn to across to a green tick again, and if I click back on this, we'll go back to across again, which makes the object disabled on the neath enabled button. There's another button called X ray. This makes the object semi transparent in the editor view on Lee, so you can see what's happening on the inside or behind object. And this is only for the editor view. So if I go and render this command are the object is going to appear fully opaque, I'm going to press a to redraw the scene above. It is an option that says use color by default. The objects are going to have this grayish bluish color, which is something that you can change in the project settings. If you remember, the shortcut was command the and inside the project settings down here where it says default object color. You can change its from grey blue to, let's say, 80% gray, and you see the default object that you create are all going to be this 80% gray color. You can customize that as well to whatever you like. So if I go and click on this custom button, I can click here on the color picker on pick. Any color that I like and the object that will create will have this color. No, I'm not going to change this. I'm going to leave this on the default gray and blue, and I'm going to go back to my kuhb, which is the box, and then come down here. What's his use color and all changes from off toe on? On this way, I can change the color off the individual object rather than changing the color off old objects that are created by default. So let's say you want to make this a green color. So if I go click on this color swatch on, go to Green and I'll increase the saturation of this and then I'm going to press okay and object becomes green. Right now, we can still see through the object. So let me go and disabled X ray so it doesn't appear as if it's translucent and they're ago now the object to actually render with this color. So if I go press command, are you actually see the object appearing with this color. However, if you want to change the appearance off the object and you want to have the full control over the appearance, you would be better off creating a material and applying that material to the object, which is something we will talk about later on. And the reason for that is because when you create a material and apply it to an object, you can control more than just one color. You can control things like reflection, transparency, displacement as well as the color on a lot more my using textures or materials. We will talk about materials when we come to that chapter next to the basic tab, you have the coordinates tab. So if I go and click on this coordinates tab, this shows me now three different properties. It shows me the properties for position, scale and rotation. So you always have the X y and Zed positions, and they're by default, all measured in centimetres. However, it doesn't matter what these units are. As long as the relative distances between the objects are correct. You'll be fine. You may be asking yourself now, Well, what is then the resolution of this file? That's something you decide right towards the end. Before you do your final export to change these values, I can either just go and typing. So if I go and typing that's a 50 press enter, it will move the object towards right by 50 units and for grand type and, let's say, minus 50. So if I go minus 50 you see the object we move towards left by 50 minutes. So an important thing to remember there is that a positive number will always move in the direction off the arrow, in this case, the Red Arrow here and the negative number who always move in the opposite direction from their Oh, So if I, for example, want this object to go down, I know that's now the Y axis, so that's the one that's going up and down. That's why if I go and change its value to, let's say, minus 2 50 you will see the object will shift down by 250 units. Now, another way of changing these values is by using these arrows so I can just go and click on the apparel to increase this, and it will do it unit by unit. Or as I'm doing this. If I hold down the shift key on the keyboard, I can do that by 10 units at the time. So if I don't shift and quick, you'll see you'll increase by 10 and I can decrease it by 10 as well by clicking on the down arrow. And if I hold down the old key and click on these, it will move in decimal points. So instead of moving by 10 units, it Moore's 1/10 off a unit like that. And whenever you want to reset these values, of course, you can go in double quick and then type in zero, provided that you know the default value of zero or the easiest way to reset any of these values is by right clicking on these arrows. So if I go and right click on any of these arrows, you see, it will take it automatically back to its default. So let me just quickly show you another way of doing this. So let me just go 30 50 and 250. And if I quickly want to reset these values, I can go right Click right, Click on right, click one alternative way off. Moving these objects around using the arrows here is by clicking and dragging on these arrows. So if I go click and drag you see it will go rights. And if I drag it down, you'll go left. So this is perhaps the quickest way off moving objects on the single plane like this. I can do the same for why, On the same force it and to reset them all, I could go right click and then right click and then right, Click on the arrows if you want. Actually reset them all at the same time. So let me just changes again, randomly. So if I go up and then maybe to the right and also closer to us. And if I want to change all of these back to their defaults, I can click on one of these letters P letters here. So that will highlight all three. At the same time I can there, right click, and then just select reset to default. So that takes it all the way back to 000 Next to the position values, you have this scale values here so I can change the X scale or the wild is that scales and next to it are the set of controls for rotation. Now, the rotation values, as you may see, aren't X y and zed. They're called Hey H P and B and they stand for heading, pitch and banking. Now, heading, if you're used to using another application, is your wife rotation. So if I go click and drag this up, you'll see the object with rotates around the Y axis as such. And then the pitch. Let me just reset this first, and then the pitch is the rotation around the X axis on banking. Is the rotation around the set access instead of using these sliders? There are actually some tools you can use, and these will be a lot more visual and sometimes easier to use on, for example, in order to move the object up and down. If you're going to select this tool called the Move Tool, which is E. On the keyboard, I can now use my mouse and then click anywhere. It doesn't even have to be on the object. I can click anywhere and then dragged object around so I can freely move this around. And this is actually something you don't want to do in three D space. If you're looking at the scene from the perspective, you which is what we're seeing the scene through now, it says here, the perspective you. You don't want to be clicking on the object or away from the object and moving in like this , because when you do this, you don't really know where the object is. Moving towards it all depends on your perspective. 7. Parametric Objects - Parametric Objects and the Attributes Manager 2: next tab is the objects have. So if I go click on object here, you not see the parameters off this specific object. Now the object tap is going to be different for each one of these objects that you create. So, for example, for the Cube, I have the size X Y and said, as well as the separate surfaces option and the fill it option will talk about some of these later on on as well as the segments on the side. But if I go and create, let's say a different object that's going click and hold it down here on Let's say I select this fear, which is in the same places the Cube. That's why I can't see it. So if I go to the sphere welter coordinates and that's how I would like this to move up. So if I go click and drag this up, you see for this fear. If I go to the object tab instead of the size, I now have a radius. So if I go and set this, let's say to 25 it makes the radius of the sphere 25 units and each one of these Parametric objects will have different parameters inside of the object tap. So if I go create, that's a tube object have off the tube. Shows us the inner radius, the outer radius, the rotation segments and the rest of it. So they're all going to be different from one another. So let me first quick go and delete the tube and also delete this fear, and I'll select the books again. So if I want is to be any elongated box, I can go and change the X from 200 to, let's say, 500. Andi, I can make this a little shorter. So if I go and set this to, let's say 20 and instead of pressing, enter if I want to change the set as well. So that's the next field up. If I go press tab on the keyboard that switches the currently active field to the next one so I can make this why they're now on the set. So if I go 500 so on the exits 500 wise 20 and said is also 500. There's also an option down here called fillets. If I go take this, you see the edges will be round it. And I can control how around the edges are by changing the radius off the fillets so that you're gonna set this, Let's say two, maybe three. And then down at the bottom, you had this fillets subdivision. This is the smoothness off the round of areas. So let me zoom in here so I can show you what I'm talking about. So I'm going to hold down true and left, click and drag. So it zooms in here as I decreased this You see, the edges will become a little rough. And as I increased this, it's going to make the edges smoother and smoother and smoother. So every time I press edges become smoother and smoother, the higher the number, the smothered edges. But the more segments you'll be creating so that the slower the processing would be, so keep an eye on that on in order to quit, zoom out so I can see the entire object again. I can go impressive letter. Hate on the keyboard on that pulls the camera back out. So it shows us everything in this scene, which is the single cube or the box that we have let me go and delete this box for now. So I'm gonna go select the box on on the keyboard. I'm just going to press delete, so that disappears now. And instead, I'm going to go and create a sphere. So if I go click and hold it down and then go to the sphere option here than Neco, I now have a sphere, and you may have noticed that there's another icon that we skipped. It's this one here on all the icons. The right of this tick here are called tags. We'll talk about some of these tags later on. If I select this one. You see, this is called the Fung Tag, and what this does is it smooths out the surface off the object without having to create many segments without the phone tag. This is what the sphere would normally look like. So if I go and delete this phone tag by selecting it and pressing delete on the keyboard, you not see that this fear looks like this. So it's quite edgy. And if I select this fear in order to make this look smooth, I would need to increase the segments so I can go an increased number. And you see, the more the segments, the smoother the sphere looks. But that now means that I have to deal with more than 150 segments, so that's going to slow down the computer. But instead, if I reset this back to its default by right clicking on the arrows here, I can go and add a fung Tak to this, which you can do so by right clicking on the sphere and you go to cinema 40 Tax. And then this is an alphabetical list. So it come down to Fung and you click on that. And then, instead of adding segments, you've added the phone tag to make the surface off the object looks. Mother, I'm going to go into the atmosphere again on I will show you a parameter that's quite specific to a sphere. So on this fear, you may have noticed that there's an option here, down at the bottom that says ran their perfect. What this means is this. If I go and set the segments to quite a low number, let's say, for example, I decrease this until this fear looks quite rough like this. But if I render this If I press command are you see this fear? It looks perfect now that's because they ran. The perfect bottom is turned on. So regardless of what you do to a sphere, Cinema 40 by default thinks that you want to end up with a perfect sphere. That's why it turns this option on by default and adds enough segments to make this fear look like a perfect sphere. So if I don't want that, I can go in, turn us off and knife I rent There, you see this fear looks like what you saw in editor view except for the lighting off it. So if I go press A, you can see there some funny shadings going on here, and that's what the form tack is doing. So the phone tag is trying to smooth out the surfaces, and in this case we don't want that. So I'm going to go and delete the funk tax. So if I select it and press delete on the keyboard now, you can see the shading off the sphere properly. If I now render this, that's exactly what you're going to get in the rendered view as well 8. Parametric Objects - Move & Scale & Rotate Tools: as well as using parameters to move scale or rotate objects. You can also use these designated tools. There's the move tool scale tool, and then they rotate all let me go and create a cube first so I can show you those tools. So if I go crazy cube instead off using these parameters here on the right, I can go and click on this cube. As long as I have my multiple selected, I can click on the Cube. In fact, if the Q B selected, I can click anywhere in the scene, and I can just drag this around and you see as I dragged this, it's moving freely. But this usually is a bad thing to do, especially if you're in the perspective. You, which is the view that we're using right now, because if you do this, you won't really know where the objects are going. It will move relative to your current perspective. For example, if I move my camera down by holding down three and then left, click and drag and let's say I like the object to go left on back. Maybe so if I go click on the subject Drug left and back. And as I change my perspective now again, if I hold on three and left, click and drag, let's say on the objects or used the object is my pivot point. You see the object actually went left, so that's correct. It didn't go back as much as I wanted to go back, but it also got shifted up. That's all because I was using a particular perspective. So the object moved in that perspective. Instead, let me go back a step song going to press commands it, and I'm going to press, hate to reframe the whole scene and I'll zoom out. So I'm gonna press true and left, Click and zoom out and three and left Click and I can move around instead of freely moving the object around. I'd be better off using these arrows here. So if I want the object to move on Lee on the Y axis, I can just click on the Y axis here at the Green Arrow and just click and drag this up or down and you see the object will not go anywhere else, but up or down. Even if I drag left and right, the object doesn't go left and right. It wants to go on the up or don't and the same thing can be done for the blue arrow. Is that access on the red one? The X axis. Now, as I move these objects using these arrows, I can also hold down the shift key. So if I click and drag and then hold down the shift key, you see that the object will be moving on the INTEND Unit increments and I can do the same for all other axes as well. So I click, drag and hold the shift key down. You see, then it moves on Leontyne units increments. And you may have noticed I'm using the shift key after I clicked on there. Oh, if you hold down, shift before you click on the arrow, it actually disables DeCero. So if I go hold on a shift, Q On my cursor is on this arrow. But before I click, it disables Acero and Cinema 40 assumes that you want to move the object anywhere except for this axis. So it moves in this case, the object on the X and the set planes. Those are the two arrows that are highlighted. So if I move my cursor here to the Red Arrow X arrow and if I hold on a shift before I click, you see the X arrow will be disabled. So I can now move my object on the Y and is that axis and the same thing happens if I move my cursor here, Hold on. Shift on. Now the movement will be limited to X and Y planes. Or if I go click and drag object will move anywhere but in the set access. I'm going to press command said Toe under that a couple of times until it goes back to it was initially and after that you also get this scale tool. So if I go click on this, you Nancy, the arrows will turn into little cubes. I can click on any of these cubes, and in fact, I can click outside and drag. It'll scaled objects up or down. And as I do this again, if I hold down the shift key, it was scale in 10% increments. You see, regardless of which one of these cubes I click on the Cubans scale proportionally, That's because this is a parametric shape, and it's a cube, and Cinema 40 wants to keep. This object is a perfect boob. Regardless of which one of these buttons you click on, there's a way you can squash and stretch this by using a specific access. That's only possible when you make the object and edit herbal object, which is something we'll talk about in the future videos. For now, if you want to change the size a bit more visually, you can. Actually, instead of using these buttons, you can use these yellow buttons here. So if I click on these yellow buttons on drag, that makes the Y size shorter, and then this changes the exercise and this yellow button here changes. Does that size? I have been using two separate terms. One is signs and the other one is scale. So if I go select the cube you see under the object, you have the signs, and then under the coordinates, you had the scale. The way this works is that this scale is a factor that's being applied to the size. So if I want this quickly to be half the depth off its current depth, if I go, coordinates change mindsets scale to be 0.5. It's going to look at the size, which is about 733 and it will half that number because my set scale is 0.5 and the result is going to be half off 733 which is about 366 units most of the times, you'll find that if you want to be precise, you leave this scale set toe one, and you change the size often object instead. So if I want this to be an exact Cuba, let's say off 300 units by 300 units by 300 units. I don't from the size and not the scale. The next tool in the set is the rotator. So if I go select this or press are on the keyboard, the arrows or the cubes will not be replaced with these rotation bands on. If you're now going, click anywhere except those bands. You'll be rotating the object freely, so if I go click and drag you see, I can rotate the object freely and the press command said toe under that, if I want to limit the rotation to a single axis, I don't go and click on one of these rotation bands, so if I just want to rotate it on the screen, run, I can go click here and then you see, it will not rotate anywhere but on the green access there. So this is changing the heading off the object right now again as I rotate this. If I hold down the shift key, it locks this to rotate 10 degrees at a time. Once again, the shortcuts for those tools R E for the move to t for the scale tool and are for the rotate to these tools are the ones you be using quite a lot. So I recommend you memorized these shortcuts E, t and R. 9. Parametric Objects - Object Hierarchy: object hierarchy is one of the most important topics in cinema 40. It's really important because it explains the relationship between objects. Let's have a look at how it works. Let's say we have a Cuban the scene and as well as having a cube, let's say we also have an object called the Platonic object. By default, they get created in the same place. That's why the platonic is inside the Cube, so we can't see it. So let me go to Platonic, select it and then come down to Rex's coordinates and I'm going to move it on the set, access forward by let's say 2 50 and I'm going to select the Cube and then move that backwards by 2 50 So I'm gonna go minus 2 50 Now, these numbers tell you how far the objects are from the center off the world, which is this point here. But how do you set the relationship between the objects themselves? So how do you tell how far the object is from the other object? You do that by using what's called parenting. So if I select the platonic and if I click and hold it down and move it on top of the cube , wait for the white arrow to point down. And if I let go now, the platonic became the child, and the cube became the parents. What does this mean Now? This means now that the platonic tells us the distance from not the center of the world, but the center off its parent. So the platonic is 500 units away from the cube, and also, if you select the cube and move it or scale it or rotate it, the platonic will do exactly the same thing as the Cube does. So if I select the cube, get the move to click and drag around, you'll see the platonic follows it exactly because it's relative. Distance to the cube remains the same. So if I select a platonic, you can see that X zero y zero and satisfied 100 relative to the Cube. When you move the cube around, that doesn't change. That remains the same. However, if I select a platonic and if I take this outside the cube, look what happens to the coordinates of the Platonic. Now the coordinates revert back to showing the distance from the center of the world, not the center off the cube. So if I put the platonic back in, you've seen on the coordinates displayed the distance from the center off the Cube. Let me select the Cube and Zeer art all its coordinates, so the cube goes to the center of the world. So if I go right, click on right click on my click. So the cube goes to the center of the world, and the Platonic follows it again. There's 500 units distance between the two objects, and if I go and rotate the cube, let's say on the heading. If I go click on the heading, rotate this. You see the cube, you'll rotate and the platonic we'll follow it because the relative distance or the relative rotation in this case off the platonic doesn't change. The only thing that's changing now is the rotation off the Cube, and that is driving the rotation off the Platonic 10. Parametric Objects - Null Objects: no objects are useful for all sorts of different things. In this case, we're going to use the mouth in order to control the rotation off the tube around the Cube . Now we know already. If you want to rotate an object around another one, you simply put that object inside the 1st 1 as the child. So if I go select the troop, for example, in fact, before I do this, if I select the tube and go to my slice options, if I turned a slice on, that's going to take half off the troops away from the scene. So it's going to be easier for us to see what's happening. And if I go select the truth now and if I drag this inside the cube on Niko so that the tube becomes the child and if I select the Cube now and if I rotate it, if I go to coordinates and if I change the heading off this so if I go selecting drag us up , you see the cube rotates on as well as the cube. The tube moves with it, or it rotates with it. Now what if you want to rotate the troop around the Cube, but you want the cube to stay static. This is when the null objects come to play. So if I press command said toe under this and if I separate these two away from each other now, so if I select the tube on drag this outside so they're no longer linked to each other. And if I go on creating Mull, which is in the same place as the Cube, so if I select that on, hold it down and if I create another here, it sits right in the center of the world like any other object does when you first created . If I know a sector known, drag this inside the Cube on a connection to rename this to make it easier for us to understand what this is doing. So if I go select the name and double click on, if I call this tube control, I cannot put the tube inside the tube control mouth like so. And right now, if I select the nun and if I rotate it, it's going to rotate its child, which is the tube. But it's not going to touch its parents, which is the Cube. Now this is how we can control the rotation off one object around another one without touching the second object at all. Let's say I reset this back to zero so I can right click to reset that if I change the pitch of this look, if I go click and drag this pitch up, you can see it goes up and down like that again. The null is rotating the tube, which is going around the Cube. Now. I can actually do this with my rotate tool as well. So if I go grab my rotate tool and I can use these bands now. So if I go click on this red band on drag this you see, I'm not rotating the tube per se. I'm rotating the mull, which in return rotates the troop. And there's a really useful shockers I want to show you here. Whenever you're moving something, scaling it or rotating it, you can hold down the command key on that's going to create a copy instead of moving the actual object that's going to create a copy off that. Together with that, if I hold down the shift key that's going to lock that to 10 degrees like that, and I can click drag again with shift on command keys, another 90 degrees. There you go. I now consider the cube and rotated, and that's going to rotate everything. All the males and the tubes inside those nose like that. 11. Parametric Objects - Solar System: by using knows you can create something quite similar to the solar systems set up. Now, here's what I mean. If you go and critics fear by clicking and holding down on the cube. And by the way, if you find yourself doing this a lot clicking and holding down on the menu, you can actually click on this area here, and that will put the menu as a separate menu here. And if you have a second monitor, this is particularly useful so it can put some of these menus on the second monitor there. But in this case, I'm just gonna move it on the side like that. I'm gonna create a sphere, and I'm gonna go and rename this fear son on to make it easier to see. I'm going to go to the basic tab and change the use color option from off toe on and I'll give us a yellow tint. So I'm gonna go to this play color, select it and I'll pick a yellow color, and I'll increase the saturation as well. No press OK on. Instead of creating this fear again, which is going to be our earth? I'm going to go get my move tool, which is already selected here and then more. This object on the Red Arrow holding down the command key and that will create a copy off the object instead of moving natural object. And I'll do that one more time. Command, click on the set, arrow and just move it. And then they go three miles first, then the command key. And then that's going to rename these Israel. So I'm gonna go here and change this to Earth on the other one. I'll just change this to Moon. So I'm gonna go call this moon and let's give these ready on the colors as well. No, it looks like I missed NH there, So I'm gonna go at an H. So I'm gonna make the earth not yellow, but more like a bluish color here on then the moon. I'll make that gray. So if I select here, an army is a great color. Let's say like that and I'll change the size of these as well. So I'm gonna go to the earth and I'll select it. Change the object radius from 100. Let's say to 25 and I'll go to the moon and change its radius from 100 to, let's say 10 and I'll bring these two closer to each other again. So I just pushed us here and actually all going close this as well. So that's getting in the way. For now, what I want to create is a set up where the earth moves around the sun and then the moon follows the earth and it also moves around the earth. But the sun stays static all the time. So here's how it works. Instead of putting Earth inside the sun and the moon inside the earth, I'm going to make use of multiple knows now. So I'm gonna go create enough and let me call this now Earth Controller. So if I go and double click on the name And if I call this Earth controller on making sure that this Earth controller is inside the sun like that and then the coordinates off this Earth controller are all set to 000 I can not put the earth inside the Earth controller. And now, if I want to rotate the earth around the sun, all I need to do is to rotate the Earth controller. But to do the same for the moon. I'm going to go and creating, you know, and I'll call this one moon controller, and this one will go inside the Earth like that. And I also need to make sure that the coordinates off this object are all set to 000 So the mountain is in the same place as the actual Earth. And then I put the moon object inside the moon controller. So if I select the moon dragon inside the moon controller, making sure that the arrow is pointing down like that no, I can select the moon controller and I can rotate. Let's say it's heading like that and that's rotating around the earth. And I can do the same for Earth Controller, which is going to make the earth rotates around the sun on all the while. The sun is static. It doesn't move at all, but the earth and the moon are moving around it 12. Parametric Objects - Creating a Table: using all the skills that we've learned so far. Let's see if we can create a simple table and some chairs to do that, I'm going to start by creating a cube. So I'm gonna go creator Cuba here and then rename this cube to be tabletop. I'm gonna go double click and rename this and then I'm gonna change the object size by going to object and then the size and I'll change us. Let's say to 600 on the X and 10 on the why and 300 on the set. I'm going to create one more cube for the leg and I'll rename this to be leg one. I'm gonna go typing leg one and I'll change its size 10 by 300 by 10. Now that we have the two objects that we needed to create the table, let's go and align them. So for that, I'm going to use the auto graphic views which, if you remember, is available on the middle click. So if you go and middle, click anywhere in the view port that will take you to the four up view on the top right corner of you is the one that will be using now the top view. So I'm going to meet a click here as well to maximize this panel. Now the first thing you need to do is to figure out which corner you want this leg to go to . In this case, I'm going to use the top right corner now for that. I know that this leg needs to move towards right. So that's going to be a positive move on the X axis and it also needs to move up, which is going to be a positive move on the set access. This actually is quite straightforward. If you know the size is off the objects precisely, you can move them in place using those sizes that, you know, I know in this case, the with off the table is 600. And I know for a fact that everything gets created in the center of the world by default. That means half the table is going to be to the left off the leg and the other half is on the right side of the leg. Which means if I move the leg towards right by half the with off the table, it's going to line up perfectly with the right edge. So let's do that. So, with the leg one selected, I'm going to go to the coordinates on I'm going to go toe X coordinates and I know the with off the table is 600. So I'm going to type in half of 600 here, which is 300. And if I press enter, you see now the leg will shift towards right by half off the with off the table, which is exactly why the edge off the table is. So if I zoom in here, if I hold on to and zoom in here, the only problem now is because the thickness of the leg itself isn't taking into account its sticking out. So if I want the leg to be pulled back in, I need to work out half the fitness off the leg and take that away from the X coordinates off the leg. So the leg was 10 on the X, so I can now go to the X go here and type in minus for life, which is half of 10. And for press enter, that moves the leg back towards left by half off its thickness, which is five now to do the same on the set access. I'll show you a couple of shortcuts now, so I'm going to zoom out first. I know the death off the table is 300. If I go to the set here, I can actually type in 300 slash two. And if I pressed Enter. That's going to do the calculation for us, and it will just give us the results off 1 50 Now I know it's easy enough to divide 300 by true, but sometimes you'll be working with numbers. Some big numbers and especially if those numbers have decimal points during the mats is going to be a little trickier. This is when using these fields to do some simple calculations is going to be quite useful . Now, let me show you something even better, so let me go, Command said. And I'm gonna type in 300 slash True, which is going to move the leg up here, but again the leg will be sticking out, so I'm gonna type in minus and I'll type in the thickness of the leg, which was 10 slash two. So that's going to give us the exact result which will put the like exactly where it's supposed to go to. So this is all right now from the X axis and those that axis. But let's have a look at the height as well. So I'm going to go in middle, click again and go this time to the right view or the front view doesn't matter, and I now need to move this down by half the height off the leg. So let's work out the height of the legs. If I select this object, the height is 300. So if I go to coordinates on Goto, why I can type in minus because I want this to go down, not up. 300 slash two and that's going to send the leg down. But again, if I zoom in here, you see that the leg and the tabletop are intersecting, so I need to move the leg down by half the thickness off the table top, which was 10.5 of its five. So if I go to the coordinates again and go here toe, why and type in minus five, they will go down by half of that, and it's now lined up perfectly. If I middle click again to zoom back out to four up views on, that's no lined up perfectly from all four views at the same time. And there's a really useful shortcut you should know is if you press bolt and the letter hate on the keyboard that's going to center all of those views at the same time, instead of then get one by one, you can press all teach, and it'll center all four views at the same time. Once you have one leg in place, the rest becomes really easy. Let me show you how you can create three more legs. So for that, I'm going to take this leg and actually drag this underneath the table top like this so that it's easier to do what I'm gonna do next. And that is by clicking on this with the command key and dragging this down. I'm gonna create a copy, although that once on that automatically cause it leg 1.1. And let's say from the front view, I want this new leg Togo towards left, and all I have to do now is because everything again gets created in the central world. I can go to the new legs coordinates and I can change its X from positive to 95 to negative 295 on bingo. It just goes from here to here and now you have your second leg as well. I can now do the same for two legs at the same time. So if I select these two legs by clicking somewhere just outside on dragging a marquee selection like this and if I click and drag one of these down, hold down the command key and neck. Oh, I know I had two more legs called 1.2 and Monday three. And I now need to move these down. If I look at the top view, I need to move it down from the top view towards here. That's the zero. That's a blue arrow. I'm gonna go in the negative direction off the blue out. So if I go typing and minus at the beginning of the said value here and enter, I know I have four legs in place. If I now go and maximize the perspective, you by middle clicking on it, I now have a table with four legs perfectly in place in order for us to be able to move these objects together at the same time, the easiest option would be to create in Mull and put these objects inside the mill so that the now becomes the parent and the objects will become the Children inside the mouth. And then you can move the money around in order to more all of these objects around. And the quicker way to do that is by selecting everything which is done by pressing command A on the keyboard so that select everything in the scene and then on the keyboard again. If you press bolt and G that created no and it puts all of these objects inside the now I can now grand rename this now to be table on its a tighter seen on with just one mole inside, which, if I click on this plus sign, we have five different objects there. One tabletop and four legs 13. Parametric Objects - Grouping Objects: In the previous exercise, you looked at how to create a table and your placed old objects that made the table inside enough by pressing Olt and G on the keyboard. Now what that does is if I just go in the selectees first. That's exactly the same thing as clicking here, creating a null and then placing all these objects inside the mouth. But the downside to that is if I press commands that again if I go to the front of you, let's say if I middle click on, go to my front bigger Maximize that again by middle clicking The now that we have here is sitting right in the dead center off the selected objects here. But what if you want to put them out right on the base so you can use it to line up other objects? Now, in order to do that, the easier way is this. I'm going to go and ungroomed these objects for someone ago, right? Click on this and then choose expand object group So it takes all those objects out. So what I can do now is to go and delete this now and then I'm gonna create a new one by clicking on holding down, and I'll just create a new one. I know that gets created in the central the world again. And I know the thickness that you zoom in here so you can see what's happening a little better if I go press tour ends. Women I know the thickness of the tabletop is 10 so far more this now down by half off that . So if I go signal and come down to coordinates and if I goto why and if I type in minus 5/2 of 10 that's sitting exactly underneath the table top now. And if I zoom out now, I also need to move this down by the length off the leg, which was 300. So I'm going to go to the wire again. Ongoing type in minus five minus 300 that's now sitting exactly on the base plane. So if I now go to my perspective, you again a middle click and then middle click here. You see, the Mel would be sitting exactly in the centre at the base. I cannot select all of these manually and dragged them inside the mouth and again, I can rename them all to be table something like Table Master, maybe. And if I select amount now and if I go to its coordinates, if I zero this out, it's going to send them all to the world. Centrepoint again, which is going to shift everything else up because everything else was a child off the mouth. So if I know press age so that I can see everything, you should be able to see the mull right on the base in the center of the world and the table is sitting flat on the ground plane. In fact, there's an option for them all. If I go in selecting Mel and then go to the object tap here, I can change the display of the mount from adults to, let's say, a rectangle. I can increase the radius off this. If I go click and drag us up, I can change the aspect ratio. And if I wanted to sit flat on the floor as well, I can change orientation from camera to the plane that I wanted to go into, so that would be the X and set plane. So that's sitting on the floor now and I can increase the radius again like so, And I can change the aspect ratio to make it look more like a rectangle. I can click outside now, and every time I want to select the entire table now, all I would need to do would be to go and select this null, and that selects the mill and child objects so I can move this around and everything will move together with it. And whenever I want to reset the position of this back to zero, I got to denounce position, go to coordinates position and zero these out ago. Right? Click on this and then right click and then right click on the set as well. 14. Parametric Objects - Creating a Chair: Now that we have a table, let's go and create a chair so I can show you how to combine the two files in Maan Project . So to do that, I'm going to start with the Cube again. And I'll rename this group this time to be the seat and I'll change it. Size 2 200 by 10 by 200 and I'll create one more coupe. This is going to be the leg. So I'm gonna go rename this to be leg, and I'll change its size from 200 to, Let's say, 10 by 200 by 10. And again I have to align these. So I'm going to go in middle click and let's say I want this one to go to the bottom left corner and I know the width and the depth off the seat, which are both 200. So if I move the leg towards left and down by 100 that should line up. So if I go to the leg and go to coordinates and if I start with the X and if I type in minus 100 which is half the with off the seat and again we had the same problem here. The leg is sticking out, so I'm gonna go and type in half the thickness off the leg as a plus because I want this to go towards right this time. So I'm gonna go in typing plus five, and I'll do the same for the Zetas, Val. So from the top view, I can see this going down here, and I'm gonna need to just type in minus 95 for dessert as well. So if I go tapping minus 95 that lines up from the top for you, perfectly. I also need to send us down on the Y by half the length off the leg. So the leg was 200. So if I go to the coordinates goto why? And if I type in minus 100 because I wanted to go down, that's where I'm putting a minus. And again, the two are intersecting, as you can see here. So I'm gonna go and type in a further minus five, which is half the thickness of the seat on that lines up perfectly. Now that I have one leg, I can go and move this down like we did for the table, and I can click and drag with the control or the command key. So I have a copy off that. And let's say I would like this leg to go towards right. So all I need to do is to go here, select and delete that minus. So now I have a copy on the right inside as well. And I can now select both of these legs and commander control dragged them down again. And this time I would like them to go up on the said I'm gonna go to the set and take out the minus from here. So they go up and the only thing left to do now is the back rest. So I'm gonna go in creating your cube for that, and I call this back and let's say I would like this one to be 200 on the way. And I'm gonna make this 200 on the excess. Well, I'll just change it, Zed depth toe. That's a 10. And again, I want this one. Let's say from the top view to go down here so it lines up with the legs, so I'm gonna go to the set. So I'm gonna go selected back off the coordinates or to set, and I'm gonna happen minus 100. While I'm doing this, I'm looking at top view. And if I zoom in here so you can see what's happening again, I need to not push this back in by half the thickness off the back. So I'm gonna go selected, said again and type in plus five that lines up and from the front view, I had to lift it up or from the right of you as well. They're both work. I'm gonna go and lift it up by half the length off the back. So I know the back is 200 so I can go toe why and type in plus 100 and again there intersecting. So I wanted to go up by another half off the seat, So I'm gonna go today. Why? And type in plus five on day. All line up perfectly now. So I find out, go and maximize the perspective. You my middle clicking. And if I press hate so I can see the whole thing, I can now show you the entire model and we have a perfect model. Now the only thing that's left for us to do is to create. And now so we can group everything inside that mouth. Now, I'm not going to select everything and press alter g to put them in the mail because that puts if you remember the male in the center. I'm going to do that manually. I'm gonna go create a null. I'll call this now chair, Master. And if I go to the front of you, just do it all takes so I can see everything. I now know that this needs to go down half the thickness off the seat, which is gonna be five. So if I select the coordinates off the mill also why? And if I type in minus five and also it is to go down by the entire length off the leg, Let's just be sure that the legs length is if I got object is 200. So the chair master, you need to go down by a further 200 units. So if I go typing here minus 200 No, it's sitting exactly on the ground plane now, and I cannot select all of these objects. Put them inside the chair master. And then if I go to the perspective, you and middle click to maximize that view, I cannot go to the no and then go to object and then change this playoff This from a dot also to rectangle and I can change orientation from the camera to go toe extends it and I can increase the radius off this so that covers the entire chair. I'll say this project as my chair. So if I go to file save as I can go and rename this to be chair and if I were saved, I know saved this. And in the next video, we'll show you how to combine this with the table. 15. Parametric Objects - Merging Objects: when you have a scene and you would like to place some of the objects you created earlier in this scene, you need to go to the file menu at the top and then select Merge or you can go to the Objects Manager and then select the file menu there and then choose merge objects. These two will do the same things. And if I select that, I can then bring my table in my selecting it and then going to open and it brings the table in. I can press, hate to see the entire thing. And if I go to the file menu here and then choose merge, I can bring my chair in as well. I can press open, and that brings the chair as well. All I need to do now is to select the chair and then go the coordinates on. Then I can zero the coordinates out because I created that with a null manually, so that will sit exactly on the ground plane as well. And if I go to the top view by middle clicking, I can more the chair master, which is the now back this way on, then maybe tours left a little bit and I can hold down command and create a copy off this year. And then if I said it, the two chairs let me just go collapsed e So it's easier if I select this chair and their shift. Select this chair so both of them are selected. I can then hold on control on Drag this up with the control key. So I create a copy off them. Here, I condemn press are to get my rotate tool and I can rotate them on the Y axis. Here on the wideband, I should say so that's going to change the heading. And if I go a press the shift key as well that will look that to be 10 degrees and there we have it. I can now go click outside. So everything is the selected and I can middle click to maximize that view again. On here we have a full scene with a table and four chairs 16. Editable Objects - Editable Objects: you will remember that the objects we have been using so far were all called parametric objects, and that was because they all had parameters that you could tweak in order to change the appearance of them. Now there will be times when changing the parameters will just not be enough in order to create the model that you're after. In those cases, you're going to need to convert object from being a parametric, object into what's called inevitable or a polygonal object if you're administrator user. This is similar to creating outlines from the text. In both cases, you lose some editing capability, but in return you gain a lot more. And in the case of cinema 40 when you convert a parametric object into an edit herbal object, you're gonna gain access to the individual points edges and the polygons that make that object. Let me show you what I mean. If I go and create a cube and you'll see as soon as I create, the Cuban appears here. Luckily, no. On down at the bottom. We had the object tap and from here we can change all these parameters as soon as you make this object creditable, which is what I'm gonna show you. In a second, you'll notice that the object up here will disappear. So have a look. To make the object irritable, you simply go to the top left corner off your toolbar and you click on this bottom or you press the letter C on the keyboard, See for convert. And if I click on this, you'll see that the object is no longer Parametric. So I can see that the object tap here has disappeared. But in return I now have access to these tools here Now these tools were there before as well. I just couldn't use them. Let me show you if I go press commands that to go back Now you see that the tools are still here. If I select this tool, for example called the polygon mold, it doesn't really do anything. However, if I go and make the object irritable and if I now select the polygon more here, I can now go and select the individual polygons. Similarly, if I go and select the edge mode, I can go and select the edges here. And if I go and select the points mode, I now have access to the individual points here. You may be asking yourself, Well, why would you want to do this? Well, there are quite a few different reasons. Let me show you if I go to the polling or more here and let's say, for example, I select this top polygon. I now have access to the position or the rotation or this scale off the entire polygon. Not the whole model, but the entire polygon that makes the top surface off this cube. What does that mean? Now? I can just move this. Let's say I move it towards us or away from us. I can scale it if I get my scale till now, I can scale it sideways and you see on the debt Polygon and everything else that's connected to it is going to be scaling. And I did that there. I don't if you noticed. One thing you don't want to do is to cross polygons like that, because that's going to create some confusion for Cinema 40 and it just doesn't know how to render this. So if I go zoom in, you'll see that the polygons I just crossed each other so That's something Cinema 40 doesn't like. So when you're working with Cinema 40 it's important to remember that the polygons shouldn't cross each other. So I'm gonna press command said to take that back, I'm gonna zoom out a little bit. I also have access to the rotation off that polygon. So if I said it my rotate tool, I can click and will take that. Similarly, I can go and select the edge moved here, which would allow me to select an edge and then move these up and down these bands so it rotates. And if I pressed T on the keyboard to get my scale tool, I can click outside and then drag it towards left to scale this age down or drag it towards right to scale it up like this on, let's say, instead of an edge on a scale, move or rotate an entire polygon. Well, I can go to my polygon model on the left here on their selective polygon. And again, if I click outside and then dragged towards writes, it's going to be a proportional scale going upwards or left to go down. And if I hold the shift key down as I do this, you see that the proportion of scale is happening in 10% increments, So that's the shift key held down. Now let's say I don't scale this proportionally, but only on manage or one side, I should say I can click on one of these cubes and just push this down, and in this case you see that it's only scaling on the Y axis. Now let's say if you wanted to scale the entire model or rotate or move the entire model, you used the model mode on the left. So if I select the model more on, then click outside again and then drag left and right. You see that this scale is happening on the entire model on not just on polygon or age or a point, and because we made the cube irritable. As you can see this triangle, I come here. I can now scale this on these cubes, and it will scale, um, proportionally. Now you couldn't notice before, so that was a Q before, so Cinema 40 wanted to keep. That is a perfect cube. But now that it's inevitable cube or inevitable object, I should say I can scale this un proportionally Let me go and select the Cuban deleted. And then if I go and critics fear and then I'll duplicate this by holding down command, then just dragging this left on this arrow on our last, like this new one and then increases segments from 24 to, let's say 1 50 And then I'll go to the original 11 on the right and on decrease its segments from 24 to, let's say, 15 so that the original one has fewer segments now. Then the new army created on the Senate, both of them, and then press see one by one to make them both creditable. And you can see now the segments are revealed and this has much fewer segments than the new army created. Now I'm gonna go to my model model on the left on our press t to get my scale tool and our scale this one up on the Y axis. Now you can see how edgy this looks as opposed to this new one. If I scale this one up on the why, you can see how smooth this one looks now, the reason why the one on the right looks too edgy is because it doesn't have enough segments. If I render this, you see how edge of that one looks now. And if I come out now, has you marked a little bit like this on Render again? You see, it's a little less obvious. I mean, it's still a bit edgy, but it's a bit less obvious. But if I go all the way out like this, and if I now rendered nous, you see that the difference isn't as obvious anymore. So the amount of segments you want to create will really depend on how far you are or how close you are to the objects. 17. Editable Objects - Selection Tools: Once you make the objects irritable, inevitably you're going to want to select the points or the polygons or the edges that make the object. That's when the selection tools come to play. Let me go and create a sphere first. So if I go move my so if I go click and hold it down on the Cube and then create a sphere if I don go impressed to see Key or click on this button here to make this fear edit herbal , I can then go and select my polygon mode so I can reveal all these individual polygons on if I get to my selection tool, and the 1st 1 here is called a live selection tool. This is very similar to the quick selection tool. If you have been using photo shop, you'll be familiar with that. So if I select my life selection tool, this lets me click and drag on. Whatever's underneath my cursor is I drag will be selected. If I click outside everything it's de selected, and if I click and paint things will be selected. You may have noticed that there on my courser is around area a circle that circle is the radius off the selection tool that we're using. And you can change that by going to the right inside into the options stab here off the life selection tool. And then you decrease the radius here on the smaller the radius smaller. That circle will be. So it's tiny now, so only select one point that's directly underneath my closer, Or I can make this bigger again. So if I go higher than one so let me just maybe go to, like, 15 or 20. You see, the Cosa has not got a much larger circle around it, which means you will be able to select a much larger area. Let me zoom in first. So I'm gonna hold on to ends. Women. I'm gonna make my brush into smaller. Another way to make this brush a little smaller is by middle clicking on dragging your cursor left or right or one last way is if used the left or the right scribe brackets. You can also change the size of the circle. I'm gonna make it quite small like that, and I'm going to select some polygons randomly. So I'm gonna select all these problems and if I want to add more to this selection. All I need to do is to hold the shift key down, and then I can add more of thes. And if I want to subtract some of these particles from the selection, I hold down command and then click on these. And that subtracts the problems that I'm clicking on. Now. If you want to select all of them at the same time, you compress command a. And again, it's any point. If you want to de select them, you can just click outside and they'll all be de selected. The same works with the edge or the point months. So if I go to the edge mode here, I can now click on edge and I can hold our shift and click on these other riches as well. So they all get selected or if I go to the point mold, if I select the point and I can hold on a shift and I can select these other points as well , let me switch to my polygon mode here and then the other selection tools that I want to show you are all inside the life selection tool so if I click and hold it down on life selection tool, I now have the rectangle selection tool and then the last so on the polygon tool. So let's continue with the rectangle selection. So if I go select this, all this does is if I click and draw a rectangle like a highlight area as soon as I let go the polygons that they're fully inside this rectangle, and that's important. Only the ones that are fully inside this rectangle will be selected. So if I let go, those that are fully inside the rectangle are now selected. For example, if I go and draw a rectangle like this, nothing will be selected because none of these four polygons are actually fully inside the rectangle. So if I let go here, you see nothing is selected. That's actually an option. You can change in the rectangle selection tool if you go to the right hand side. There's an option that says tolerant selection. If I turn this on right now, if I bring, click and draw a rectangle wherever the rectangle touches a polygon, now that polygon will be selected regardless of whether or not the entire polygon is inside the rectangle. So if I let go now you see, all four polygons are selected. There's also another option. You may have noticed this. It's called on Lee Select visible elements. What this means is, if I go and select an area like this, it looks like these are the polar goes I had selected. Why? Because disruption was turned off. Actually, everything that's directly behind this is also selected so far. Go here. You see, all of these points are selected as well because I turned off the only select visible elements option. Let me go back to my life selection tool. And if I select this and then paint because on this tool on the select, visible elements has turned on. If I now go to the other side of this, let me just come up and then zoom out and then use the three key to spin around. You see, none of these are selected because this option only select visible elements is turned on. I can turn it off. And if I do a diagonal selection like this, everything on the other side as well we should not be selected this with my goal. Turn around. You see, all of these points are selected as well. This is a function that can be quite useful. So do remember Regis's the other selection tools here. So if I go select on, hold it down and then I can select my last little here again, we had a tolerance election option that's turned on on the lasso tool does this. If I go click and then paint like that, it actually creates an area, and as soon as I let go, it selects everything that the area was touching. So if I go, try that again, if I do this, all of those air selected. If I turn off the tolerance selection just like the rectangle tool now only the one that are fully inside the area will be selected on the last selection. Tool is if I go click and hold it Down again is called the Polygon Selection Tool. If I select this, this lets you go click, then let go and click on Go click, click, click, and then when you want to finalize this, you go and right click and again by default. Because the tolerant selection was turned off, only the polygons that are fully inside that selection area will be selected. There are some additional selection tools on nature on in the future. Videos will be talking about them as well, but at this point, I just want to point out where they are. So they just go and Zuma by pressing hate so I can see the entire model. And I'm gonna go to the select menu. It's up here and here. You had the rest of the selection tools, and these are gonna be quite useful. For example, if I go and select the loop selection tool, this is what it lets you do. So I can go and select a loop like that, like a hold on shift to select multiple lines like this. And I can hold down shift against inequalities as well. So that critical oops, election like that. It's quite a useful thing to know on. There are a couple of others here as well that we will be talking about later on in the future Movies 18. Editable Objects - Knife Tools: when you have an object and you haven't made the object irritable yet. For example, if I go create a cube and I haven't made inevitable yet, if I go and increase the segments on the Cube, so let's say set that to five by five by five. It doesn't seem any difference, however, if I go and change my display mode here, and I can do that by going to display on the default display mode is called The Gold Shading. This is the one. If I come down here and change it to lines, this will now show me just the lines that make the shape. So if I go to the Cube again, and if I lower down the segments, let's say this time to two by two by two. And I know have that minute segments only. And in order to be able to see both the lines and the shading at the same time, you can go to this play option again and then come down to girl changing with the lines, and it's now showing me the shading underlines. At the same time, there are some really useful shortcuts on the keyboard that you should know on the keyboard . If you go and press the letter end for November, that's going to bring up the shortcuts for the display moles. And if I don't go impress A, which is the 1st 1 here, go rolled shading. That's going to take us back to how it was initially. If I go press end and then G, that's showing us just the lines. And if I pressed N and B that showing us the lines and the shading at the same time, there are a couple of other options there as well, but these three are the ones that you'll be the most frequently. Those are an A for the shading, the girl trading and be for the shading and the lines and N g for the lines. Only if I go back to end be so the Goa road shading with the lines. If I lower the segments down to, let's say one and one and one and then if you make this object irritable. Then he decided that you actually wanted to have a couple of more segments here now, because the cubes object tap disappeared. You can just now click on a number on, increase it or decrease it to have more segments or fewer segments. In cases like these, you're going to use a tool called knife tool in order to cut or create new segments. And you use the knife tool in one of these three months here, the point edge or the poly Gaumont. Let me go to the polling on more first, and if I go and right click anywhere in the scene, this menu will appear on. This menu will only be there if you're in one of these three months here. If I go back to my model mode and if I then right click. If I select the model more there and right click, I see different options. So the life is not there. When you have one of these moments selected, you start seeing the modelling tools when you right click. And in this list there are three tools. The line cuts playing cuts on the loop path carts. These used to be all called the mic tool in the older versions. Now they've separated them. So if I go and selected the line cut, for example, what this lets me do is if I go left, click and then drag. And then if I let go and then I can come down here and click and then more here and then click on, then here and click. I can keep doing this. And when I'm done, I press escape on the keyboard and you see, now I have those segments on. I can go back to my selection tool and then I can go and select any of these polygons and do whatever I like with them. You may have noticed that that pull a gun at the back is also selected. That's because my only select, visible elements is turned off. I can turn this on. And then if I go and select this again only that polygon that I clicked on who will be selected, let me undo these to get rid of those cuts. So I'm gonna press commands that a couple of times, and instead of using the line cuts, I'm actually going to use another tool here called the plane Cuts. So if I go see like this, what this lets me dio is if I go click on a plane like so and then click here, you see Now it cuts an entire plane, regardless of how far your kosher was extending. So if I click here and then go click here and if I press escape to come out of this, you see, it cuts an entire plane. It doesn't seem very useful from this view. But if I come out, if I go commands at a couple of times, if I come out to my four up view, which is the middle click if you remember. And if I go to the front view, for example, and if I go and right click again and select my playing cards, I can not go click and then come down here. And if I hold on a shift to keep this line a straight line, I can click again and then press escape to come out of this. And then what you'll see now is if I go rotate around, that cuts an entire plane along that side. You may notice it's already now, so that's a perfect cut. I can keep doing this a couple more times. If I go to my front view, click shift and click on, I can press escape on a click again on hold on a shift and click again, then press escape. I now have these perfect cuts and then just create a couple, maybe from the top as well. So if I click no more here, shift and click on that. If I click here now more here shifting, click and then escape, I now have these perfect chunks that I just created by using the plane cut tool. Another one that's really useful is a Fargo and maximize my perspective. You first. And if I delete my cube on, let's say, this time I create a cylinder. So if I go click and hold it down on the Cube and then we create a cylinder on if I go make this it in their irritable because, remember, you can't create more cuts before you make the object irritable. So I'm gonna press, see to make inevitable. And if I go in right click this time through the loop path cuts, I can normal my cursor and you can see now it's going to get the perfect loop around the edge that my cursor is moving on for Fargo. Click here, and as well as cutting it, it also gives us this little gizmo. I can click and drag this around, and that changes the position off those cuts. If I click again on if I let's say, for example, want to create one more point, there were more cut. They're All I have to do is to hold on control and then click on them with the control key again. I can click here and then these points that I create here. These triangles are the mapped onto the cylinder on the first access that I clicked on. If I want to distribute these points, I can just go and simply click on this button, and that's going to distribute them all evenly. And for one, add more points Here. I can click on the plus, and every time I click on plus, it's going to keep adding more and more segments. If I click minus, it's going to reduce the seconds I just created. And again, if I want to add this manually, I can hold on command and click anywhere on this bar, and that's going to create a point manually wherever you like. Being able to control where the segments are is going to be extremely useful when it comes to modeling precise objects like we will see in the future movies 19. Editable Objects - Extrude Tool: when you're working with irritable objects. In cinema 40 there are two tools that are really important to. No one is called extrude, and the other one is called Extrude in. Let me explain how they work its first again. Go and create a cube first, and I'm gonna go and add more segments to Cuba. Let's I have five segments on X five for my and 5%. Once I do that, I condemn Prissy to make the coup creditable, which will then provide access to these individual polygons. Let's say I select this polygon and I move my kosher out so you can see what's happening now. If I select and move the polar gone out like this, it's going to start stretching all the points or the edges that are connected to it instead of moving it. Let me just press commands that to go back a step instead of moving it. If I right, click and then choose my extra tool, which is D on the keyboard, useful shortcut to remember, with the tool selected instead of clicking on the arrow because regardless of what tool we have selected, if you click on the arrow, you're going to be moving the polygon. If I press commands that again to go back instead of clicking on narrow. If I actually click outside and dragged towards rights, that's going to create an extrusion, which means it's going to create new polygons that are perpendicular to the origin of polygon that you have selected. And the photo right you go, the longer that extrusion. And if you go towards left and actually push this in and you'll create a hole there, look now, if you want this number to be a precise number, you can come up here to its offsets, provided that you didn't click outside. So this tool is still active on this selected polygon. If I go to offset, I can then type in an exact number. Let's say I type in 175. Press enter. That's going to create an extrusion that's exactly 175 units away from the main surface that you initially clicked on. I can do the same for these other particles as well. So if I go click on this and let's say I hold on a shift and click on this as well and I click outside, and although this looks like it's going towards left, I still need to drag this towards right so they all extend away from the surface that they're coming from. So if I left click and drag towards right, they'll come out. If I drag left. Although it looks like it's moving in, the opposite direction left is going to push them in, right, always is going to push them out. You can create some really interesting things with this. So if I go click here and if I don pressed the to get my extra tool again and if I don't go click and drag towards rights, I can then get my rotate tool by pressing are and I can rotate. It's a little bit. I'm just doing this randomly now. I'm just gonna rotate this a little bit of the table 10 degrees or so, and then I pressed D, which is the shortcut for extrude again. I click outside not one of these arrows again. I click outside and drag right and our again to get my rotate tool, and I'm gonna rotate a little more and then D again and then left, click and drag out again on our and I can keep doing this eventually. My press d now here Eventually it will look straight. So if I press are again, I'll have to do this one more time. I think so. I'm gonna go the drag one last time. If I do are, rotate here and then d click and drag towards Writes a go I can also know Let me just let me just move up I can also now scale this so if I pressed t I want this to be proportionally scaled So I'm gonna click outside and drag Empress D and then click and drag towards right. And let's say I want this to be smaller now, so I press t again click drag towards left on D click and drag towards right and then t to scale this down Andi again and saw in one of the earlier videos We created a table, my creating a separate object for the tabletop and four separate legs. Let's have a look at how we can know that using the extra tool and a simple que let me go and delete my cube now so selected and press delete on the keyboard and I'm gonna create a new cube from scratch. And I'll make this cube, Let's say again, 600 by 10 by 300. And I'm gonna press hate you so I can see the whole thing on because I can still see the lines here. I can actually go and increase the segments as I see those lines. So these segments are gonna determine how wide are thick the legs are gonna be, Let's say, that's how I think I want the leg to be on the X and I'm gonna increases segments on the set as well. Let's say that some think I want to like to be on the set. I now make this object that it's a ball. So if I go press, see so the object becomes eligible, I can go to the bottom of the object by rotating my camera around and I said like this and then I select this with shift gears. Well, I cycle the corner points when I moved here, hold on shift and select that corner and then again shift. Then select that corner as well. I'm going to zoom out. I want to bring this year. Looks like I forgot to click on shift while I was selecting these two. So I'm gonna go select them again quickly with the shift key. Now I have these. Let's I want the legs to be 300 units long. Exactly. So I'm gonna press d to get my extra tool left click drag towards right, And that will activate the offset here, look in the select offset and type in, Let's say 300 and presenter. And if I know Zouma cult, you see, that's how simple it is to create a simple table and using the exact same method. I can quit the chair as well. So let me get a cube and I'm gonna call this 1st 1 table on the new one. I'll call this chair and I'll select this and I'm gonna add more segments to this. But before I do that, I'm gonna decrease the y size. So I'm gonna make this 10 as well. Let me move this here so I can see what's happening. I'm gonna move it down as well. I may be in Let me go to the four views so I can see what's happening. So I'm gonna middle click Maybe this should go about there, and the seed should be slightly lower. And you can see, Although I have my extra tool selected because I'm clicking on the arrows, it's actually moving object that seems about the right height. Just anything more. Maybe they're on them from the perspective. You, if I go zoom in here, should be able to see this a little better. Now, I'm going to add more segments on the set that's going to determine the thickness off the back rest as well as the legs. And I'm gonna have more segments to dio excess well, there. And once I do this, I don't need any segments on the why. Because I'm not gonna extrude anything sideways like that. Once I do that, I'm gonna go and select the chair press, see, to make detectable, I can angle my selection tool and from the top view if I zoom in to the top for you here. So if I maximizes by middle clicking from the top you I'm going to make sure that only select visible elements is turned on. And I'm gonna go and select all of these using my life selection tool and you can see I actually selected more than I want. Oh, someone's hold on command on De Select these points That's going to be our back rest. So if I go in middle click again, I can go to decide I pressed D and I left click and drag towards right That's going to increase the height of those points My offsetting them with the extra tool. Then I can go to the bottom off this either by manually dragging this around with three G or you can go to cameras and change it to the bottom view on I can not let say maximize this. I cannot get my selection tool again, making sure that only select visible elements is turned on. I'm gonna select each corner in this case, instead of selecting one corner, I'm going to select four polygons by clicking here and they're holding their a shift and then clicking here and then with shift again, I click here and then this shift I click here. So 444 and four So 16 polygons are selected. Now I'm gonna switch my view back to the perspective, you and in fact I'm gonna middle click. So I can see all views at the same time, I'm gonna press d so I can get the extra tool. And then I left Click that Say, this is the best view now to do this in the right view so I can see the height of this. I'm gonna left click and drag this towards right until the bottoms are lined up like that. There's a more precise way of being this using snapping function. Or we could have used offset as well. But I just wanted to show you how quickly you can do this. If you were in a rush on you quickly wanted to get some models out. This is the best way to do it. One more thing I wanted to show you with the extra tool. Is this option here on the right that says preserve groups. Let me show you what this means if I go and create a new scene by pressing command n for new. And if I go on, critics fear here in this scene, if I make this fear irritable, so if I select it and then press see to make it irritable if I then get to my polygon mode on the left, so that reveals all the polygons. And if I select everything, which is command a And if I don't get my ex truthful, which is the if this preserve groups option is turned on if I go and click and drag, all those problems are being extruded at the same time. So it just seems like the entire model is scaling up. However, if I go and turn off this preserve groups option and if I dangle, click and drag, they'll all be exploding outwards based on their center points away from their center points so that they all do different things. They all move in different directions, and they're no longer a part off the same group, So that can be quite useful tool to know on if you want to make this quite detailed in psychedelic, if I go press commands that a couple of times until I get that sphere back to being a parametric sphere by then selected sphere increase the segments here. Let's I said this tour 1 50 again. Then I make this edit herbal. Then I select everything. In fact, by the way, if you don't select anything on the object is selected. So if you don't select the polygons, but the object itself is selected. If you dan used extra tool or most of the other tools, it just assumes that you want to select everything. So if I don't select anything now, and if I just use the extra tool to drag this towards right, all those points are automatically selected and you can see what's happening. Now I let go. And if I render this look, it is quite an interesting model. Maybe if I under this and do this little less so if I just go and drag this a little bit. And if I render this, that could perhaps be the head off a microphone or maybe a disco ball. 20. Editable Objects - Extrude Inner Tool: the next Tullow explain now is called the extrude Inner Tube. This is another tool that you use with only edit herbal objects. So it's going crazy Cube on, Let's make the coup creditable, and I'm gonna select my polygon mode on Let's say I select this public on here. Imagine you want to shrink the polygon in, But instead of shrinking natural polygon, you actually want to create a new set of polygons on the inside. So it's going to be an inset from this currents polygon, and that's going to look different than scaling the polygon. So if I press t and scale this, this is what's gonna happen. So that's gonna shrink and everything that's connected Twit will also shrink. But if I do an extra inner, which on the keyboard is the letter I or you can get treated by right clicking somewhere on its here just under the extra tool you see extra dinner. If I select this polygon again, I click outside and drag this towards left so that creating inset like that, I then get to my extra tool by pressing the or right clicking and going to extrude. And then I click and I can push this towards right to extrude this. Or I can push this Tours left to push this in like that. Let me go in on move around a little bit. I can press I again and then create another insects and then D And then I can stick this one out, using the inner extrude and combining that with the extra tool you can create some really interesting shapes. Let's say, for example, if I delete this cube, selecting it and deleting it on the keyboard and I'm gonna create a cylinder and if I press age to re center that I can make the radius of the cylinder, that's a 10 and I'm gonna make the height, Let's say 2 50 if I zoom makeup from the cities of it now, I can make this in their irritable, so oppressed see to make inevitable, and I consume towards the top of the sit in there. So if I hold down two on pushin on get my selection tool, by the way, the shortcut to get to the selection tool, regardless of the current tool you have selected is space bar. So if I tap space bar that's going to go to my selection tool. And if I tap space bar again, it's going to switch back to the previous tool that you had selected. I can select all these top polygons like that. And then I was remarked again, my compress I to get my extra dinner tool and I can extract this this time outwards. Although it's called extra inner, I'm going outwards to create an outset on. I can specify the width of this or in this case, the radius by going to the offset here, and I can go to it because I'm going outwards. I can go to minus under 50 on a presenter. So that's going to be the radius off this top disk that we just created. And I want this to have some thickness as well. So I'm gonna press D to get my extra tool. I'm gonna click and drag this towards right and again from the offset I can get this a specific thickness. So let's say you make this 10 on for the base, I'm gonna go in and I'll spin around a little bit, get my selection tool by pressing space on Select all these points on the base and I'm gonna press I and then I'll click outside and dragged towards right on this one is exactly , let's say 1/3 off the top. So I'm gonna make this minus 50 and I'm gonna press D to get my extra tool click and drag towards right. I'm gonna make this one. Let's say 10 as well if I spin around again and then press stage so I can see the entire coffee table we just created in a matter of minutes. 21. Splines - Intro to Splines: as you work in cinema 40 there will come a point when using objects like the Primitives or the para metrics or the edible objects will just not be enough. That is when you start using these objects, called explains. Now explain is something you may actually be familiar with if you used an application like Illustrator or Photoshopped or aftereffects before there, you have parts that you create in cinema 40. They're called spines on the spines. In cinema, 40 have two main users. One is to create models, and secondly, they're used to create animation parts. We will first talk about how to create models using splints. You'll find this planes next year. Cuba. That's where the pentacle is. If I click and hold it down on the pentacle, you'll see some of these orange explains on the left. And these are displays that you draw manually, and the ones on the right are displays that are parametric, So the ones on the right, the blue ones are disciplines that you have parameters for. For example, if I go and created texts plane, it's going to give me an option for the font size tracking and the appearance of the text. We will first start by creating. Explain using the pencil. Now The pencil is very similar to the pencil in illustrator or for a shop or after effects . Again, if you used those applications. Otherwise, if you haven't used this tool before, here's how it works. You have two main options with the pencil you can. I did click and then let go and then click on a different point and let go and then click again and click. And then when you go back to where you started from, you'll see a circle next to your cursor. That means you'll be now closing, displaying that you were just creating. So if I click now that spline is just being closed now on. The other option you can use for this plane is to click and drag and then click and drag on click and drag, and every time you do this, you'll see you are creating a curve. Instead of creating a straight line, you are creating a curve, and you have two options with depend like this, so clicking and dragging to create a curve or just clicking and letting go, then clicking and letting on a different point to create straight connected lines. And one thing you don't actually want to do is to create a free hand spine. In the perspective, you because if I'm growing a spine from the perspective, you displaying will be drawn based on my current perspective, which might actually be wrong. So if I, for example, here it seems like I didn't actually close the splint so I can just press escape to come out of this, So that's an open split. Now I'll show you later on how to close this. If I actually hold down three and then spin around, you see this plan I was drawing wasn't actually flat. It's actually going towards the back towards the set space because that's what my perspective was like again. When you're creating Freehand spines, it's best not to draw them in the perspective. You. So this is when we start using the autograph IQ views again. Let me select everything, come on A and then all pressed backspace or delete on the keyboard. Because I was in the points mode, I selected the points off this plane rather than this plane itself. So this planes you see will still live here. So if I want these to disappear as well, I would actually need to do that by going to the model tool. Then I select explains, and then I can delete them. Let me now go to my autograph IQ view. So if I go and middle click that takes me to the auto graphic views, I'll use the same tool again, the pencil. But this time I'll use it from the top view. So let's say I go click and drag and then click and drag and click and drag and click, drag, click and drag on that. If I come back here and click that will close this plane. If I look at this supply from the top view, it looks perfectly flat. And if I look at it from the perspective, you I can see that it's exactly where it should be, which is on the floor. So there's no funny angle or perspective on this plane. Now, once you draw explain, let me now show you how can edit this. Let me maximize the top of your first by middle clicking again on the top. You once you have this plane. If you actually want to change this from having curves back to being straight lines. I can select display in here and I can goto object and I can go to type and I have this option here called Busier. That's what those lines are called. They're busy airlines. If I select this, I cannot change this from busier back to Alinea Splain. So that's going to get rid of all those curves and it will give us straight lines. I can convert this back from linear to a busy again, and they will introduce those curves again. Now you may have noticed there are a couple of other options here as well. There's one called the Beast plane, which is the one that I actually use quite a lot. Let me show you what the beast blind is. Let me first go and delete this existing supplying by selecting it and then deleting it. And if I select my pencil before I draw this plane, I can actually tell it what kind of supplying that will be. So I can change it from busier to be Splain. And if I go click and neck Oh, I'm not dragging them. We just clicked and let go. And if I click again, so that's a straight line. And the third time I click based on the triangulation off those points is going to create a curve on this, perhaps, is one of the easiest ways off creating smooth cars. And when you're done, you just press escape to come out of this tool, and there you have it. Now, once you draw this, you'll notice that most of these points, except for the first and the last ones, are actually outside the shape you're drawing. So if I get my move, it'll or in fact in this case I can get the selection tool, making sure that I'm in the points mold here. You see, the first point is still on this plane, and the other points are outside. If I select this point here, that was another point that's not on this plane on. I can see another point here. I can click and drag these around Now. You can either do this with the selection tool, or it sometimes actually is easier. If you get the move tool, then you can select it. Then you can actually click outside and drag to move this now that is an important thing to remember now. If I select this point, for example, remember, I'm looking at this scene from the top view, so I'm looking at it from above. If I select that point, and if I click on the point that I selected and drag, nothing seems to be changing like this. But when I let go and if I switch back to my other views, you can see that my front view on the right view and in fact, the perspective. You are a little messed up now because what I was doing there waas clicking on this and clicking on the point and in the top view I was moving it because there's no why perspective in the top few. I couldn't see any difference. But if I look at it from the front or the right or the perspective views, I can actually see that this point is going up or down. So that's something you want to keep in mind when you click on the point. It's best, then took like outside the point and move. It's rather than clicking and dragging on the point again, that you've selected, Let me go and maximizes top view again on If I select this plane. There were two other options that we didn't talk about. So if I go to my beasts blind, there's this cubic on a key my as well. Cubic is going to create a similar shape to the beast plane, but this time it's going to conform the shape to snap back to the points that you clicked on. So you see that the path is actually going through the points that you created. So that's the cubic on. Then there's one last one called Akima. Akima. There's something quite similar, So this also lets the path go through the points you created on as it's doing this. It changes the tension off the curves so that the curvy areas look a little more triangular than they did in the cubic or to be Splain. Let me go and delete the spine again so I can create a new one, so I'll select, explain and then delete it. If I know I get my pencil again and this time I'm going to start with let's say cubic, and if I go click and then click and click and click and I'm gonna come down and then click . And then I'll finally click on the point that I started from, and now I have explain and if I want to know, add new points to display. All I need to do is to move my cursor over to this plane and hold down the command key so that I have this line here. I can then click on that, creating your point on that split. I can do the same here. Hold on, command click. That's one way of doing it. The other way is if you had the move tool selected. And if I move my point on this path now again, I hold on command and I get these tiny points next to my cursor. That means if I now click, that's also going to create a new points, and I can click again that Christie points and then you want, and to delete one, you just simply select it and then press delete on the keyboard. Because while we were doing this, we had the point Mort selected, so it's going to delete just a point and not the shape itself. So that's how you add or remove points from explained. You may have also noticed that displaying itself has a Grady int that's going across so you can see it starts white and gradually it turns blue, and by the time it gets to the end, it's fully blue. So the grade Ian's goes from white to blue. That radiant shows us where displaying starts and where it finishes. And that's going to be useful for all sorts of different things, especially when it comes to using this plane for animation purposes. By looking at the Grady Int, we will know the first and the last points off the animation. Let's say I know want to convert displaying back to a busy explained. So if I select it and then go to type, changing from cubic to a busy A. So that will give us the handles again. And I can now click on these handles with Immortal and dragged them, and you see both handles will move at the same time in the exact opposite directions. That's a useful thing, so they stay linked at any point where you want to break the link between these two busier handles you hold down the shift key and you can start dragging this and you see this will not affect the other side. What? It will only affect this black line that I just clicked on and I go off shift. Click on this again, and you see the two will still remain linked again. When I want to break this link, I hold our shift, and I can move that point only without touching the 2nd 1 And once you broke the link between these two points, the way to re link them and then make them look the way they get before is by selecting the point which is already selected and then right clicking. And then you can select this option where it says equal tangent direction. That's going to make the tangent directions the same. And if I right click again, if I go to equal tangent length, that's going to make the short handle the short tangent as long as the longer one. So if I not click on, then push this in, you can see that I get the same result as I had before. You may have noticed me right? Clicked. There were two other options here hard interpretation and soft interpolation. So if you would like a point or multiple points to turn into straight corners rather than curves, you can select them, right click and then choose hard interpellation and that will get rid of the curve on the handles. And if you want to reintroduce those sandals, you right, click again and choose soft interpretation, and it will reintroduce those sandals. And finally, if you don't want your supplying to be closed, you just go here and click on close, plain and uncheck this. So the last point of this plan will no longer be linked to the first point of this plane on before I wrap this video up. Actually, one last thing, actually, and that is to move the entire spine around. And for that on, this is going to be true for any shape that you create. If you want to move the entire shape rather than individual points or the edges or the polygons, you again, we'll remember that you need to go to here to the model mode here, and then you can move the entire shape, and then you can switch to your point mold and then continue to work, as you were doing before 22. Splines - Parametric Splines: as well as creating free hunts blinds by using the pencil, you can actually create parametric spines as well by using one of these options here. So, for example, if I go and create a star, all the blue objects, by the way, are the parametric objects. So if I go and create a star, you see this one will give us some parameters we could tweak. So instead of creating a start from scratch by using the freehand tool, I can use the startle here or two star object. I can go and click an increase in a radius on decrease it. Same for outer radius. Increase of decrease. I can add some twists. I can increase or decrease two points. So instead of creating a star manually, I have all these parameters that I can tweak to make this star look pretty much anyway I like. So if I know, go and delete the star and they show you a few other explains that we can use. So if I go click on hold it down, I can not create that, say, a cog rail on. This is one of the most powerful spines. I think so. If I go to the cog wheel and I had the object here and next object. It says teeth if I got click on the teeth. This is where it can change pretty much everything about the Cockerille so I can go and decrease the teeth so I have fewer teeth there. I can change a type from in veloute to, let's say ratchets, and it looks like that I can increase of decreased orientation on these can all be animated as well. So we will talk about these. When you get the animation on, you have these options for the root radius and then them radius. You can change all of these as you like. If I got in les, I can change the way the in lay works. So right now, the type is none that can change that from none, too. That's a spokes, and I can make them slightly smaller. So if I go to outer radius and decrease this so their little smaller and so there are some other splints here as well. So if I go create that, say, a flower Splain, I condemn or this out so I can see what's happening again with the flower different parameters on that object tap. So you have the inner radius, the outer radius on the amount of petals you have, so it can change all of these here, and you can change the plane they sit on. So if I select here and I can make the school on the X and said plane, so it's on the floor And so there's a number of different spines that you should explore here. So they're all here. All the Paramount explains are gonna be in here, and one that you'll be finding quite useful is the text plane to which I designated an entire video. 23. Splines - Text Splines: one of the reasons why designers like to use the number 40 is its ability in creating three D text. And that's what I'm gonna show you in this video, working with text in Cinema 40 as we mentioned in the previous video text is explained. So if I go to the splint tools here inside the pen and I can create a text object here on down here, as soon as you create a text, you'll see the parameters off it so I can go and change the text itself. So if I go highlight the text and then change this to, let's say, Digital me and if I pressed Enter, it's going to take me to the following line, assuming I'll be typing more words on the second line. Now, in this case, I just want a single word like this, and I'm gonna press. Backspace wants to jump back by one level, and instead of pressing enter, I'm actually going to press tab on the keyboard that's going to go and create the text, and it will jump to the next field, which is the phones field here. Not before I look at the front. Let me zoom up from this so I can see the entire thing. So if I just move up on the resume, our tentative it. If I now select the front, whatever front I have installed on this specific computer will appear in this list. So that may look a little different to yours than it does on mine. So I'm gonna go into, like, something quite thick, like Ariel Black on where to press hate. So I consented to text again. And underneath the front you have the style of that front. So if on that computer we have different styles for that fund, like regular or black or convinced or italic, you'll be seeing them in this list. This specific front I have selected doesn't happen to have different styles. So that's the only one. I have the regular one, and you can also change the alignment here. So if I select left, I can make this middle aligned or write a line I'm gonna stick with middle for now. And the height here is the actual size off the front. So if I go and increase this, let's say if I said it's to 400 that's going to make the height of the text 400 units. Now, in order to see this a little better, I'm gonna go to the front view. So that's a middle quick on the middle. Click on the front view and then I'll press the letter H so that centers the text. And now I have these options that I can show you here. So we had the horizontal spacing. That's the tracking that you may be familiar with from other applications. So that changes the tracking. So that's the distance between the characters. And then you had a vertical spacing that is the leading if you have multiple lines that just go and create another line here. So if I go click and type in another line here. So if I pressed, enter typing training. If I press tab again on the vertical spacing now will control the distance between the two lines and then you have another option here. That's a separate letters. This is going to be useful when you make the text edita ble, so you end up with individual objects per letter rather than having a single object for all of the letters. Next option is the current. Now turning is the distance between any two characters rather than the entire character set , which is what the tracking is about. So I'm going to go and turn the show three d GeoEye the general user interface option on. And as soon as we have this, you can actually go and click, provided that you have the model more here selected. You can actually go and click on any of these gizmos here. So if I click on this letter G here at the top on this orange button, I can move the letter G and everything that comes after that towards right or left. So I adjust the distance between the I and the G on it can do the same for the letter D and then the same. For all of these letters. Soak earning gives you a lot more control over the distance between the characters. One my one, rather than adjusting the tracking which will control all of them at the same time. So this is one of the things that's going to make the difference between the good and the bad designs. So if I go extend this on the south as well we can push this in and you do want to spend time doing this because sometimes if you don't pay attention, I don't know if you noticed here that A and the r were overlapping here, so it looks fine from up here. So there's a lot of distance between them, but because of the shape off the letter A and the shape of the letter R, there's some overlap down at the bottom. So that's what you fix by using turning so I can extend this towards right. So they're separated. They're not touching each other anymore. 24. Splines - Converting Parametric Splines to Editable Splines: Sometimes you'll create explain, and you need to convert its playing into an eligible Splain so that you have access to the individual points that make that Splain. Let me show you what I mean and why that's a useful thing. Let's say you go and critics star splint. So if I click and hold it down here and then create a star splaying and let me reduce the points down toe five on, let's say now I only want this point here to be curved. The rest. I want them to stay straight, but that point at the top, I want that 13 curved. The only way for us to do that now is to convert this plane into an edit herbal Splain on. That's done again by pressing the letter C on the keyboard, we are going topsy. This plane is now an edit herbal Splain, which means I lost all the parameters here for the object that I had before. Like I can't add more sides to the star anymore. But what I have gained is the access to the point mode, and I can then select an individual point like that and I can do whatever I like to this point. So let me go to the front for you first. It seems like I've changed my front view from that to the top few. So I'm gonna go maximize this and then I'll go to cameras and then change it back to front . Now, if I want this point to be curved and the others to remain the same, what I can do is to make sure that the point is selected. I can then go and right click somewhere else. And there's an option here called Champ for if I select it the way this works again. Once you had the point selected, you go click and then dragged towards right like the extra tools you dragged towards rightto ADM or or you drag towards let to subtract them. So let me just drag this towards right. And if you want this to be a specific radius, you can actually go and I'll that radius in here. So let's say I want this to be exactly 20 units so I can highlight that and type in 20 centimeters on the radius off that curve is going to be exactly 20 and I can do the same. Let's say for this point, get my selection tool, which is space bar. I can select that point than space bar again to get my chance for tool, and I can click outside and drag towards right and again, I can set the radius of this to be 20 as well. So if I go set this toe 20 that's going to curve it exactly by 20 units. And because we made this inevitable Splain, I can also use any of these tools that we're familiar with now. So if I get my move tool, for example, I can select that point. I can click, let's say art and then pushed us in. I can't say at this point, and I can click out again and push this in, and I can create any custom shape that I like my first making this plain irritable and their secondly, using a combination off the tools that we've learned so far 25. Splines - Splines from Illustrator: if you already have some vector art that you created an illustrator and you would like to bring them into cinema 40. There's a specific workflow. I'm sure you hope works. Let me first switch back to Illustrator Andan Illustrator. I've got this drawing off two arrows. So what I need to do is to save this as an illustrator eight file. So if I go to file and then choose save as I'll save this year as arrows eight. So I remember that this is the illustrator eight file and I'm going to go press save and in the next window, it asks me for the version off illustrator. So I'm gonna go and select Illustrator eight and it gives me a warning here saying that somewhat the new futures may be disabled, so I'll say Fine. So I'm gonna go impress, okay? And it's the same morning here, so I'm going to confirm this as well. And then when I switch back to Sumer 40 all I need to do now is to go to file up here, or I can go to file here as well and I'll choose merge objects and I'm going to select my arrows eight file and I do open. And then he asks me if I want to change this scale. I don't. So I'll leave this at one. And I want all this plans to be connected as well. So I'm gonna go and press OK? And the two arrows are now inside Cinema 40. In order to see them, I'm going to switch to my front view. So if I go middle, click here and the middle click on the front of you. And then if I zoom out, you see, those are the two arrows. Now, the reason why these arrows don't appear to be in the center of the world is because the arrows are using the rulers from Illustrator on administrator. As you may know, the rulers start from the top left corner There in cinema 40 they are in the centre off the world. So this is an easy fix. I can go to the arrows, object here and come down to coordinates. And I can just zero these out. So if I go right, click here and then right click here. Object will go right in the centre off the scene. If I not press the letter H. I can see those areas properly and you see now inside the mill because I had two shapes. I have two parts. One is the first arrow on the left, and the other one is the second arrow. By the way, it's worth noting that those rulers that I just mentioned you can change them in Illustrator, let me quickly show you how that's done as well. So if I switch back to Illustrator and if I press on the keyboard command are two revealed all jewelers. I can actually click on the top left corner here. That's the origin off the rulers and I can drag this, Let's say, here in the dead center, and if I let go, I can then save this file again. And if I bring that new version into Cinema 40 the objects will appear in the center without me having to reset the position values manually. 26. Rendering Splines - Extrude: Now that we know how to create this plane's let's have a look at how to render them. Let's first go and create Explain. That's quite a simple splint. Let's say, for example, a star and you'll notice if I go impress. Command are nothing actually gets rendered. This is an important thing to keep in mind. Spines by themselves do not render. So what you need to do is to create another object that's going to convert this plane into a set of polygons On that object is usually called a generator object. There's more than just one generator and their these green objects here. So if I go and click and hold it down on this one, you see, all of these are green, So these are all generator objects on. You will start with the extra object, so let me just go and create an extra object. Generally, the way the generators work is that you place objects in this case, the star inside the generator as the child object, and that's going to create a result. If I place the star inside the extra object, making sure that this arrow is pointing down and when I let go. That's going to create some sort of polygons. And if I render this, that indeed will be a visible object that you can render in three D space. So if I not selected star and if I go to its object tab, I can tweet these against I can change the points. For example, I can earn more points or fewer points by clicking and changing these. If I select the extrude object itself, I can change the amount off extrusion. So if I go to extrude and then come down to its object and I had these moments options here and by default, the said movement would be turned up to 20. So if I go in sickness to, let's say 60 that's going to change the depth off the extrusion, so that extends backwards. My 60 units. Usually you only use one of these three options and you don't combine them. Here's why. If I said this back to let's say zero. And if I extrude this upwards, saying going in the Y direction like that, you see this stretches out because the star is on the X and Y plane. If I increase this on the X order. Why plane? It's going to stretch it and create some weird shapes like this. So let me set this back to its default, which is zero. And the same thing would happen if I extrude this on the excess Well, so if I click and drag this towards right, you see, it extends towards left. All right, on that also creates a weird stretched version off the star. So if you have an object that you drew on a specific plane in this case, the extend my plane, you extruded in the other axis which have dessert. Just like if you draw something on the X ends that plane, you would need to extruded upwards on the white plane. I'm sure what I mean. So if I select my star now and if I change its plane from X and y two, let's say X and said, And now if I go to extrude, increasing the said will create a funny result mount. So if I go click and increase this, that's create a stretched version off that star. So if I undo that, I can increase the why this time. So the access that's pointing away from the plane that you drew the star on. So if I go click and drag this up, you see I'm pushing this up. Or if I push it down, it's going to go an extra in the opposite direction. But in both cases is going to give you a set of polygons you can see and Rendah. And then when it comes to tweaking the rotation or the position off the object, you usually tweet the rotation or the position off the parents, which is the extrude object. Here's why. If I select the star in five press are to get my rotate tool. And if I rotate this, let's say on this axis here. So if I go click and drag this step way, you see that the star starts stretching out again. Because if I put the star up here like that, it's trying to extrude itself upwards in my direction on That's not what you want. So if you want to rotate the object instead of rotating the object itself, you would need to rotate its parents. So if I select extrude and I rotate extrude object, which means the star will rotate with it so it's properties are going to stay relative to the parents, which is the extra same thing works for scale or position as well. So if I press t, I can scale the extra object towards right so it gets bigger or towards left. So get smaller on the same thing. Works for move as well. So if I press e to get my move tool, I can move this in any direction I like and that's going to make this star remain in the same position relative to the extra object. Let me go and delete this extra object on. I'm gonna start again by creating a text explained. So if I go created, explain on if I change this again let's say to digital me. So if I delete this, change it to a digit at me If I press tab and then if I press age so I can see the entire shape, I can then create an extra object again and place the text inside the extrude. And now I can see this on. Let me change the font now to something quite thick. So if I go to the front if I scroll up until I see Ariel Black here. If I select that and I'm going to press age again so I can see all of those polygons. And if I select my extrude object again, as well as the movement's option inside the object tab, you also have the caps option. So if I go select the caps, you can see that we have two options one for the start and one for the end, and they both have the cap option turned on. So if I go to start and change it from cap to none and you can see now as soon as I do that , the cap on the front just disappeared. So I know how that's gonna shell. And if I change the end cap from Capitol, none as well. I now see just the outer shell off the text. This is how any object in cinema 40 is built their hollow on the inside, and they have capturing outside to make them look volumetric. But in reality it's all empty boxes like a matchbox, and you don't know whether it's failed with something or not until the open it and in this case, the text. When you open it you can see that there's nothing on the inside. Now I'm going to change the start and the end caps from none to fill its cap and under the same put end as well. And that will create this kind of bevel around the edges, defies women so you can see this a little better. That's for to start, and there's one at the back as well. So let me assure you want it back as well. The steps option is going to control the smoothness off this bevel area. Here, let me first changed my view so I can see the lines that make this shape. So if I go press N b If you remember this shortcut, this will show you the shading together with the lines. So if I now go and increase the steps here, you should be able to see Let me zoom in a little more. Actually, if I increase the steps here, you should be able to see. But I'm having more and more and more of those segments, so that's getting around there and around the around the if I know decrease that you can see that's going more towards a straight age on. It looks quite different. So what I'm gonna do now is first change the radius, so it's quite small. So I'm gonna go and set this to, let's say true. And then I'm gonna add a couple of steps here, so that's smoother. That's a four or three, and I'll do the same for the backside as well. So if I spin around, I'll do the same for this side as well. I'm gonna change the steps to four on. Then the radius took true. So it's quite small at the back as well, and I'll spin around and I'll press h. I can zoom out on, then reframe this like so. And when I'm done with this, I'm gonna press end a on using those beveled edges you can see. Especially when I render this. You can see these nice contours that pick the light up. And this make things look a little less CG and more organic. So even if you want something sharp, I would recommend having some sort of a cap. That's Phil, it'd on. Even if it's something quite low. That's if I said it's toe one on one here as well. That's still going to look very different than having regular caps. So having a Philip cap, and even if you set the radios down toe one, it's going to look quite nice and organic compared to having no fillets. While we're still on the topic off the extra object, I want to show you one more future. That's quite useful. Let's say you created a number of spines and you group them inside enough. Let me show you what I mean. So if I go to meet this text here and if I create a couple of random spines, so I'm gonna go create, let's say, a star and I'll also create a flower on. Maybe I'll create a text as well. If I press h, I can see all of these and I'll just randomly separate them away from each other. So I'm gonna go click and drag to text there and maybe click and drag the store here and then the flower or click and pushes back a little bit. Now, if I select all three objects, text and then hold down the shift and click on the star so they're all selected. If I the old G, they will put them inside the mill. And if I then put that no, inside the extrude, you see absolutely nothing happening. So the extra object the way it works is that it looks at the first object it sees inside, if it and it tries to extrude it. In this case, the extra object is trying to create some polygons based on the mouth, so that's why it doesn't work. So if you want to tell the extra object that it should look at on extrude not just the first object it season site, but everything that's inside of extra object that's done by clicking on a simple single bottom that's inside the extra object. If you click there and if you go to the object tab down towards the bottom, it says hierarchical. If I go and click on this hierarchical bottom, that's going to make the extrude object. Look at everything inside of it, including the now on the other object, the inside the knowledge as well 27. Rendering Splines - Updated Caps in R21: in release 21. They've updated the way the caps work. Let me now show you how the new version works. I'm gonna start by creating it. Explain. I'll add that inside an extra object. And I'm just going up there to text as well. So I'm just gonna go type something else Ongoing Pick a different front as well. So it's a little easier for me to show you the caps. I'm gonna go pick something like, say, Tahoma on bold I'll make it made it aligned on I'm gonna go to my extrude and then make it slightly deeper Let's say I'm gonna go and set this to 50 and I'll now go to caps And here you'll notice that the interface off the caps field looks a little different. First we had to start cap on the end, Catholic in turn, both of these off. So we're just left with the shell. I'm gonna turn them back on again, and I can actually control the fill it or the bevel around the edges here by going to the bevel shape and you notice that this will say both levels because this option here it's a separate level controls is turned off. If I turn us on, I can control the start level separately than the end. Bevel. I'm gonna need this off for the time being. And we had this first option here says round This is like the fill it cap option that we were used to seeing in the older versions. So I'm gonna go and click and drag this up, and you see this rounds off the edges like that. And then down here, you have the shape death. So by default, this is set to a positive 100% units. So if I now go click and drag this towards left, you see this? What kind of dial that back down. And eventually, if I said this to a negative value, you'll start creating a con cave shape. Here, let me zoom in a little more here so you can see what's happening. I'm like waiting a con que shape, and the segments will control the subdivisions off these edges. So if I now go to segments, increase this. That's gonna be smoother. Decrease it. That's gonna be more harsh. So, you know, up this that's a to five. I'm gonna go to shape that on right click on this so that we can reset this back to its 100% default. The second option I want to show you is this step option here. So if I click on the bevel shape out of step, that's it on. If I now go to the segments here, this will not control how many steps or segments you have from the main surface here to this extra did surface. So if I now lowered us down to, let's say to, I know are two steps here and I can control the overall science by clicking and dragging this left and right and say, I'm gonna leave it like that And whatever I do here is also going to be reflected on the backside to If I fly around you see on the backside, I have the same kind of bevel zoom around. You see, that's what I have now on. I'm gonna do my cart a little bit so you can see the whole thing. I'm gonna make the size and it's a larger I'm gonna go click and drag this towards right. See, there I can increase its segments again on just right away. It creates some great results. If I will render this, that's what it's gonna look like now. Something like this would be quite tricky to create in the older versions. Another option here is read. His Bible shape is the curve level. For now. Turn its on. I can actually control the bevel here by using a curve like we're used to seeing from this planes. So if I go click and drag this start off the curve up and down, you can see what's happening to the bevel area There. You can also create other bevel shapes yourself. Manu is with my command. Click anywhere on this curve. Andi. I can just click and drag this around, and it can control you. See the shape off this bevel here, or you can actually use some presets. So if I go to hear what has lowered preset, I have all these pre defined bevel shapes. If I now go to, let's say, for example, the inner bevel option here, you see, that's what that curve looks like. If I got to look preset again and maybe pick something else that is slightly more interesting that say this basic grounding level. That's what that looks like, and some of these are based on the ground bevel shape. Some of them are based on the curve level shape. So if I go pick something else that's based on the curve, let's see here. If I got in, turn off my lines. So if I go to gold shading, that's what that looks like. And if I render this, that's already looking really good. But like I said, it can tweak this further. So if I click and drag this around, I can control the courage, er on those beveled areas there. So with this update, it's quite easy to control the way the caps look and you can become quite creative with all the tools that are available to us in this neo Caps field. 28. Rendering Splines - Sweep: in this video, I'll show you how the three project works Now the sweep is in the same place as the extruded. So if I click and hold it down on this button and then I should see sweep down towards the bottom left corner. And what the sweet does is quite simple. Yet effective it Texas plane called the Profile Splaine and extends that splint. Or it sweeps that Splain along another Splain called the Length. So let me show you what I mean by that that's going and quite a simple spline like maybe say, a circle. If I go create a circle here, and if I select that circle, make that quite thin. So I'm gonna change the radius off that from 200 to, let's say, 50. So that's playing is going to be our profile. That's the one that's going to be extended. And if I don go and create another spine, which will use as the length. So if I go maybe get my pencil and then if I switch back to my top view from the top, you If I just go and create a random looking splitting like this, maybe a couple of curves here and then I'll just go around and maybe created loop here. And finally, when I'm done, I'm going to go impress escape to finalize the drawing. Then I'm going to go and switch back to my other views here. So that's a middle click again. And I'm going to get my move tool. Before I do anything else, I'm going to press all teach, which will reframe all those views at the same time. On with the move tool selected. I'm going to click on some of these points and randomly moved them, so I'm gonna move them up. And maybe I said at this point and then move this down so it doesn't look all flat on the floor. So I'm gonna move this one up as well. This a bit. Maybe it's more this up on. Perhaps I can move this one down the touch and so on. So I have now aim or effect kind of random looking shape. And if I now go and maximize my perspective, you I can then start using this week. Now, the way the sweet works is that you place the first object the profile in this case the circle inside the sweep. And then you take the second object, this plane, and you place that under the 1st 1 which is the circle. So I'm gonna go in places under the circles are making sure that the arrow is not pointing down like this. Because if you do that, that means the object is going to go inside the circle. I want this to go under the circle. So the arrow the white arrow is pointing towards left, I then let go and that will give us the result. So the circle will now be swept along this plane or it will be extended along this plane. Now already, hopefully you can see all sorts of different uses for this. If I now go and switch this view to a slightly different angle, maybe say, here, let me show you now the settings off the sweep. So if I go select the sweep, I now have these options here. I can change the end scale. So if I go increased and scale or I can decrease it down to zero. And when you set that to zero and render its command, our that actually looks quite pretty I can set this back to its default one on the percent by right clicking on those arrows. I can also change the growth options here. So if I go to the and the growth and click and drag this, you can see what's happening here. So it's making the sweep. Reveal itself gradually, and I can do the same for the start growth as well. So if I start with this set 200% I can gradually make disappear. My decreasing that number and all of these properties can be animated as well, so it can change them over time. That's something we will talk about when we get to the animation chapter. Another option that I think is quite useful is this end rotation option. Right now, you're not going to see in a difference when you rotate this. If I go click and drag this number up or down, you see, not much happens because the circle, when rotated, is still a circle. So instead of a circle, let's go and use a rectangle so I can show you the and rotation as well. So if I go click and hold it down and maybe create a rectangle supplying this time I'm going to change the within the height of this rectangle. So I'm just gonna go on typing. Maybe, let's say 54 2 with on Maybe, let's say, 10 for the height. So that's how big direct time there will be. And if I take the circle out, so if I just grab the circle and drag it out So it's outside that the equation now. And if I put the rectangle instead between the sweep and this plane now you'll see the rectangle is being swept along that supplying. Let me make that rectangle a little wider. So if I select the rectangle and then go to the with, I can increase this from 50 to, let's say, 200. So that looks more like a ribbon. Now you can see, and there's an issue here about the ribbon intersect itself. I can fix that easily. By selecting this plane, which will reveal these points, I can then select these points on, move them around. That's going to change the appearance off the entire supply. So if this point is going up, all of those shapes will corresponded to that on they will look slightly different now on. That's looking much matter. I cannot select my sweep on then surely this and rotations. If I go click and drag this and rotation value, look what happens. It starts spinning end off this plane on. You can create some really nice curly ribbons like this, using the and rotation. With that set to a high number like this, I can still go and animate or changed and growth. So if I go, set this down to zero again and you can see as I dragged this as well as making that spying visible as well as drawing it, it's also rotating that splint along the way. Let me go and delete the rectangle on. Then I'm gonna replace that rectangle with circle again, so I'll put a circle back to where it was initially. Now we looked at an option that said and scale on. That was the changes scale off the end partier. So if I select this sweep, you see it says and scale here, I can go click and drag us up and down to change that. But there's no option for the start scale, and you may wonder why now That's because you can control the start and end and in fact, any other part of this plane by using the details, stop here. So if I go to details here, clicked open that that's going to reveal to a graphs. And these graphs are gonna represent this scale and the rotation, not by default. These graphs don't have any effect because we haven't changed these. But what I can do is if I click on this point here, which is the start of my spine, I can make this thinner, so that's to start getting thinner on. I can make the end thinner as well. You may be saying, Why would you do that? Wouldn't that disappear? Yes, it will disappear. But what I can do now is by adding a new point to display in. If you remember, that was a command click on the spine anywhere, and that will create a new point. And then I can make the middle part thicker and the start and the end thinner. So if I know, render this, that's how it's going to look. It's a lot more organic now than it was before, and again you can create multiple points here. So if I go command, click here and then maybe I command click here as well. I can push these down. They just push this one down as well. Like that on. I'm gonna move this one. Let's say here on, then just exaggerated a little more. So I'm gonna push this down here on push this one down here. And then when I can do is to highlight all of these like that, and then I can move one. And as I do that you see, the others will move together with it. So that creates more of an organic shape like that. This could be quite a useful thing for maybe some regional medical animations and all sorts of different things. And the graph underneath does the same thing, but this time for rotation. 29. Rendering Splines - Sweep Chair: let me show you something else that you can create with this three project. I'm going to go and get my pencil on, going to switch to my rights view. So I'm gonna go to my right for you here, and I'll just go and create something like this. So I'm just gonna go click here and then come down here and then maybe go rights, and then I'm gonna go down on left again. Now I want all of these points to be straight points. So I'm gonna go select my Splain and then converted from a B Splain toe a linear splaine and let's now go and treat the position off these points and I'm gonna press escape first to come out of this. Then I'll go and get my move tool. And I make sure that these points are position property. I'm gonna select this and I want this one to be perfectly aligned on the set arrow there. So I'm gonna go to set and set that to zero, and I want this one also to be aligned on the set. So I'm gonna go and said that 20 as well on our select this and also this point on, because I don't want a funny angle like this. Between these two points, I'm going to set their wife scale to zero. And I'll actually do the same for these two as well. So it's like this and the shift. Select this and then I'll sit there. My scale. 20 Israel on. Then I'm gonna select this point on the shift. Select this point. And I'll said there, Zet scale to zero. So there's no funny angle between the true there. And then I'm gonna go and move this point up a little bit. Maybe our school click and drag this up on. That's going to be this side or the profile off our chair. So they show you how this is going to work now. So let me come out of this right for you first. Ah, Now I know I have this Michael, Zoom in. I can see this here. I'm gonna pull the camera up a little bit. And what I want now is another copy that looks exactly the same on the side. So I can then use them as the profiles. So for that, I'm going to go to my model to here on with the command key. I'm gonna go and drag this towards here. You can also drag it towards left. Doesn't really matter. I'm gonna go and check that this is working. So if I go to my photographic views and if I press old page so I can see everything now from the top view or the front view, you can see the distance between the two objects and that's going to be the with off our chair. So I think that's about right. And I'm gonna go and make the perspective you maximized again. And then the next thing I want to do is to connect these two splints so I can use them inside the sweep object. So if I select both of this planes and then right, click on one of them. And if I go down to access connect objects and you may see another option here that says connect objects and deletes, the difference is this. If I go and connect the objects, that's going to create a new object called spline true, which is basically a combination off those two objects, but it will leave those two objects in place, so it doesn't do anything to those objects, so maybe you can use them as backups. But in this case, what I want is to connect them and delete them at the same time so that we're not left with the original shapes. We just have one object in the scene. That's the combination off these two splints. So I'm going to connect and delete. Now that I did that, I can actually start connecting these points as well, so I can connect those two top points on the bottom points as well. So for that I need to get to my point mode here and then selected the points that I want to link so I can select that and then hold on shift and select that. And if I now go and right click somewhere, I can go and join the segments. So I closed those on for the top part. I can just go and tell it to be a closed splint. So if I go and click on this close plying button that's going to go and close displaying here as well. And now we have ourselves an almost perfect profile for a chair. Now to make this look a little nicer. I'm going to go and round the corners off, and I'll do that by using an option called Champ for which is something we talked about in the previous lessons. So for that I'm going to go impress command a so that select older points and I'll go and right click and then I'll choose Champ for andare left, click and drag to initiate this. And then down here I can dial in the radius so I can make this, Let's say 10 units. Exactly. That's how around the corners will be. I can then use this plane as my length inside the sweep object. So let me call this one chair shape on. I'm gonna go and create a circle. So let me just go create a normal circle and I'm gonna make that circle quite small. So I'm gonna get my scale tool, which is t ill. Then click and drag left until I get that to be about maybe that size maybe slightly thinner they on. Don't use them inside a sweep. I'm gonna go and create a sweep here again, like we did before. The rest will work exactly the same way. So the circle goes inside the suite first, and then your chair shape goes under the circle like that on. This still looks to me a little too thick. So I'm gonna select my circle and bring its radius down to, Let's say may be true. There you go. That's looking much better. And if I know, look at it from the financials. You can see what I just created here on. All you need to do now is to create this seat on May be a back rest, and I'll let you do that in your own time. 30. Rendering Splines - Loft: the next object I'll show you is the loft object. Now the left is also a generator, and it's used to create a more bean two or more spines. Let me show you how it works. So I'm gonna go and create a loft object here, and I'm also gonna go and create a couple of spines. Let's say I start with a circle again, and I'm gonna put simply the circle inside the loft like that on that turns that circle into a to the disk. And if I select the circle and if I hold on command and if I drag this so it created copy, I now have two circles that are linked to each other. That's because of the loft. And if I make the second circle, that's a larger with my scale tool, that museum art a little bit so I can see what's happening. I just made the second circle. It's a larger now, so that's creating anymore from the smaller circle out towards the larger circle on. I can keep doing this if I get my move tool and then hold on command and drag this circle out that's again creating any morph I cannot scale this one up as well. Like that on I can. Maybe in school I'll take it a bit more. I can maybe press e again and then commanded Drag this to the side, and then I can make up. I let go of command a little too early. That's why it didn't create a copy. So I'm gonna go press command said, and then command, drag this tours, right? And then I'll ensure that I let go of my mouse first, then the command key on. Then I can make this one a little smaller school smaller here. And then I can go e again to get my move tool, and then command, drag this out just a tiny bit, and then maybe get my scale to make this one. It's a larger and then press again and command drag this one towards right. And then Niko, and again, I'm gonna command drag this towards right and then press tea. And I'll make that last copy slightest smaller like that to create a smooth ending there. And if you look at it now, you got all sorts of different circles connected to each other because of the loft object or thanks to the left object. If I go, turn aloft, object off. You can see this is pretty much all I have in the scene. And as soon as I add all of those inside the loft, I get this result. And if I now want to rotate the whole thing, I would select the loft and then I would press are to get my rotate tool. I can click on Rotated here, holding down the shift key so I can do this in 10 degree increments. So I rotated by 90 degrees and then I can lift this up like that, and I pressed Page so I can see the entire model again. That's a nice looking vast. Now, let me show you a couple of other things you can do with the loft. Let me just go and delete all of these. If I go on, believe them. And then if I go to my front view, maybe so if I middle click and then go to the front of you, get my pen and I'm going to draw a couple of peace blind curves here. So I'm gonna go be Splain and then just go. 123 and four, maybe. And then operas escape on that. I'm gonna go to my perspective, you middle click to maximize that. Yet My move. Tool on. I'm gonna press hate so I can see this plane and I'll get to my model tool. And I'll duplicate this a couple of times. If I hold down, command can just drag this here. That's one copy on the second month. Maybe that said 3rd 1 as well. Like that. So, in total, we have four copies. I moved out like this so I can see all of these again. And now what I can do is to create a loft again. And I can place all of these objects inside the loft, starting with the first Spiner Drew. So that goes inside the loft. And then the second Splain goes in there and then the 3rd 1 And then the final one goes in there as well. And months I have this. I can then go into my points month here, select displays that I want to tweak. So if I select supplying to, maybe I can see the points that make that splint that is one here I can select it on more this up or down. Have a look. So if I go down or up, I can change the position off that point on this plane and in return, that's changing how the loft is created. So if I now click, say, for example, on this point and then drag this one up, I can do the same for all the other supplies as well. So if I select my second Splain, which is called splitting one, I can move this point up or down. You can see you can create some variation there as well. And if I now select that point may be on the first blind. So if I go there said at that point on the first plane, I cannot move this one up or down to create an even more randomized look on. What's happening, really is if I go and turn the left off, you can see this. I got multiple spines that are all connected to each other. Using the loft on eats, Plein is connected to the following spine in the same loft. If I go and turned aloft on again, you can see the result is like this. And really, with the loft object, you can create some really cool and interesting looking shapes. All by using, Just explains, Let me show you one last example. If I go in the loft on that, say if I go create a circle again and I'm going to this time, said the plane off the circle to Goto, Xn said. So it's It's flat on the floor and I'm going to change the radius off that from 200 to, let's say, 75 I can create a loft. I put the circle inside the loft and then I select the circle, and I'm gonna command that dragged the circle up, and I'm going to make that new circle slightly larger. So I'm gonna press tea and then extend that like that, and I'm gonna press E again to get my move tool, and I'll hold on command and I'll create another copy going up and then I'll press E again and I'll create one more copy going up. And this time, that new copy I'm going to make that slightly smaller like that. And if I go to my autograph IQ views, I can see how small that should go. And if I now press again and if I push this one down from the Franz view with the command key held down that's sticking out in the perspective, you now. So I'm going to make that one smaller as well. So I'm gonna press t in the front view if I press hate, so I can see the entire shape I can then make that new copy smaller, so that goes almost parallel to the intervals on. That's looking a little too thick now so you can see the distance between these two. So I'm going to go on, increase that scale, and I'll do the same for the one before as well. So I select the Circle three increases scale of that as well on. That's gonna give us this result. So if I go to my perspective, you again go and middle click here and there you have ourselves maybe one part of a cup, and if I want to create a handle here as well, I cannot combine the loft with sweep. So if I go to my pencil and then maybe switch that Orta graphic views on, let's say from the right of you. I'm going to go and create a handle spine. So I'm gonna go and zoom in. So maybe I can start from here. But before I draw this, I'm going to change the type from beasts Plane to a busy explain so I can draw this freely so I can go click and drag so I can initiate a curve on. Then I come down here, click and drag, and then maybe come here, click and drag, and then come here and click and drag on. That's going to be our shape. And I'm gonna press escape to come out of this and then I can get the move tool. And I can align these properly so I can select that you it may be here and then select this point on, then move it here. And once I have that shape, all I need to do now is to go and create a new circle so I can use that inside the sweep together with this plane. So that's going to see this from the side in the perspective. You So that's my handle here. If I go and create a sweep, and if I create a circle as well. That's the one that's going to be swept. And if I make the circle thinner as well. So if I go select the circle's radius and decrease that, let's say two, maybe 40. I can angle to the circle, put that inside the sweep and then put my split on the circle and you can see that a little too thick. So I'm gonna go select the circle and then go to its radius and maybe drop this down. 10 on. There you go. So I find out who and maximize this view. I've got myself a coffee cup together with the handle on before I wrap this video up. One thing I wanted to show you here is when you create a shape with this sweep or any other generator, and the shape you want doesn't look quite as nice as you want to. So it's not quite some of you can actually go to the spine and then come down to the object on Red says intermediate points. It can change it from adaptive to uniform, and then you can increase the number, and you can think off this like the segments off the splint So if I increase this, you see the supply. You get smoother and smoother and smoother as I decreases. If I said this to something low like I don't know five you can see how edgy displaying is now. So if I go zoom in, you can see what that does. So when you said that to five, this is what it's gonna look like. But I increased that number. That's a go from five to, let's say, 25 that's going to make this Reedus move and again to see the entire model. I can just go impress the letter Hate on the keyboard and there we have it. 31. Rendering Splines - Lathe: in this lesson, we'll have a look at how the late object works now. A Leith in real life is a machine that keeps spinning a piece of wood or metal on as it spends that piece of wood or metal. You start carving into the object to create a three D model in cinema 40. The way the late works is that it takes a splint that you create, and then it spins that splint along the Y axis. Or it revolves display along the Y axis to create the three D model. So let's have a look at how it works. The late object sits in the same place as the extrude or to sweep or the loft. So it's down here. If I create that. And if I switch my view to the front of you here, I can not draw a profile for a wine glass, which will then be revolved around the Y axis, and it will create a three D shape. So let's do that. Let's get the pencil and I'm gonna create something that starts from this Y axis here. That's important. I'll show you what happens if you don't start it from here, So I'm gonna go and click on, then drag on. Then I'll just move up. I'll go somewhere here, click and drag like that, and I'll move up again on maybe zoom out a little bit and then I'll go up somewhere here, click and drag on the Nazem old way in so I can see what's happening there. Now, I don't want this curve to be as big, so I'm gonna go and drag this in the shift key so it doesn't affect other side on I'll zoom or in From Here. Just going creates one more point and then dragged down in its orbit and then zoom occult on a bit more. I'm gonna go and click somewhere here. The distance between these two lines I'm creating is going to be the thickness off the actual glass. So if I go make the glass this thick on, then I'll go somewhere here and then click and then drag, and the distance off this point to the Y axis is going to be the thickness off the neck or the stem off the glass. So if I go pull back down and let's say I want a glass to be this tool. I go click somewhere here that these women first of it a bit. If I go and click somewhere here and then drag a little bit when I can zoom in on this is going to be the base off the glass. So if I go click somewhere here and I'll zoom in and then maybe come down somewhere here, click and drag on. Then finally, I go to the left. He's amount, and I click somewhere here on a Lego, and then I'll press escape. So I'm outside the creation mode now so I can press hates now to see the entire model. Now this doesn't look too bad, but the neck maybe is a little bit too far out, so it's going to make the neck quite thick. So let me get in the move tool, and I'll select it. And on them push. This left it a bit like that on also push this point towards left it a bit like that now. One important thing I said was to make sure that this point, which is the very 1st 1 on then the last point as well they need to be flushed to the Y axis. So the easiest way to do that is to select the point. So if I just go click outside to de select everything first, then I select my Splain. And then I said at this point, and then I can come down here towards his ex and if I zero this out, that's going to be flush to the one access. I go under the same thing for the last point as well. So if I go select that point and then go to X and then zero this out, that's also not flash to the Y axis. If you don't do this, you're gonna see what happens in a second, I'll show you. But first, let me show you what the lake does to this object. So if I go back to my perspective, you and if I press hates so I can see the whole thing. If I now take my Splain place this inside the Leith object, it will be revolved on this is the result that you'll get. You can see the real clean three D model off a wine glass. Let me show you what happens if you didn't have those two points lined up with the Y axis. Let me go and disable the length for a second on these women. I'll select this point. I don't move it away from the Y axis like that. And if I don't enable the life again, it doesn't seem like anything different has happened here. But if I go into it, you can see what's happening now. Look, if I go in, there's a hole in the glass, which is hardly ideal for a glass. That's why you want to make sure that this point is lined up exactly with the Y axis here, and you don't want to go too far, because if I go click and push this too far, it's done gonna quit some really strange results again like that. So you want that to be exactly on the Y axis, and the easiest way to do that is to select that point and then go to X on that zero out X , which is going to make that flush to the Y axis on. The same thing applies to the bottom as well. So if I go right to the bottom of this glass, pull out and if I don't select that point again. If I select this supplying said that the point mold, select that point. And if I separate that away from the why, you see, there's a hole there. This is what you maybe after. But in the case of a glass, it's hardly like I said ideal. So I'm gonna make sure that this is going all the way back to where it was, which was zero on the y. So I'm gonna select this and said that 20 on X, which is going to make it flush to the Y axis on it. You zoom back out again. Ironically, press hates to see the entire shape you may have noticed if you zoom all the way in the edges sometimes don't look really smooth. So if I go in But these edges aren't very smooth, so you don't have enough segments on this Now I can increase that really easily by going to a Leith and then you have these subdivision options here. You can go and increase this on the higher that number that smother. The result would be so I press and hold it down there. You see, I have more segments, and that's going to look a lot Symbol don't know. Of course, it's going to take longer to Renda on. That's a trade off. You have to bear in mind. The more the segments subdivisions, the longer it will take to render, but the better it will usually look. 32. Deformers - Bend: in this lesson, we will talk about how the reformers work. The formers are some objects that you create and apply to other objects, such as primitives, or edit herbal objects or spines in order to change their appearance. Here's how they work. The reformers are all of these purple objects. There's quite a few of these you can see here on depending on the version of Cinema four. Do you have? You may be missing some of these D formers, but the bandit former, for example, will be there for all the versions. So I'm going to start with that. So if I go in, create a bandit. Former, you see it looks like a cube, actually a hollow cube, and the performers need objects to work on. So let me go and create a Cuba's well. And there are two ways you can get a D former toe affect an object. In this case, if I want the band D former to affect the Cube object, one way of doing that is by selecting the band and then placing this inside off the cube. So we literally just click on drag this inside the Cube like that and now that the band is applied to the Cube. In other words, the bend is the child of the Cube. I can come down to the object tab on. I can go to strength of the band on. It can increase or decrease this, and you see something's happening to the Cuba's well. Now something's happening to the Cuban, but the Cube doesn't quite full of the bend off the band object. That's because the cube doesn't have enough segments on the Y axis. Remember, you can't reform a single segment. You can't twist it. You can't bend it. You can't curve it in any way. So in order to create a smooth curve on the Cube, you first need to ensure that the Cube has enough segments. Let's do that now, So if I go to the Cube and if I goto object on because it's bending on the Y axis, I'm going to go to segments. Why? And I just increase the segments? Why, If I set this to true, you see or create two segments here, so we have just a single break by using two segments, my going one and true. And as I increased this number. The curve is going to look smoother and smoother and smoother. So the higher the number, the smoother the shape will be. Let's go to the bend object again on I'll show you a couple of other properties here. Now the band object will only affect the Cube where it touches it. In other words, if I select the band object and if I lift this up above the Cube like this and it's no longer touching the Cube, the Cube isn't being affected anymore. Although the band is inside the Cube, the two will need to be physically in the same place in three D space for the band to affect the Cube. If I push this down, you see it just touches the top part. That's why it's affecting the top part. Only I cannot go and increase the amount of strength. So if I go here too, it's a strength angle for the band on. Just increase this. You see, the top part of the cube starts bending. Now, the more you increase that, the more the Cuba will start bending on. The more off these ugly edges you'll start revealing. This is when you go and increase the segments on the Cube against. If I could select the Cube and then increases segments literally by clicking and dragging this up, that's going to smooth out the shape here. So if I knock Chris N. B. So I can see these segments, this is how many segments I needed in order to create a smooth result like this is, I decreases segments. If I click and drag us down now you see are fewer segments. Hence the edgy look off the Cube. Now let me go and increases back again. That's a sentence to 75 on. I'm gonna select my bend, and then this time I'll sit strength back to, let's say, 90 on that. I'm gonna push the band down on in order, and I can keep pushing this down. Actually, you can see Look on in order to make this band perfectly aligned with the Cube. There's a button so it can come right down here where it is fit to parents on. As soon as I click on this, the D former will fit itself to its parents, so it's exactly the same size now, and I cannot increase or decrease the strength on that should be a lot more precise now and as well as the strength you also this angle option, which you can change. If I click and drag this angle, you can see what's happening to the angle of the Cuba's well, so it's bending in a different direction on all these properties are key frame herbal. So when we get to the animation chapter, I will show you how to make them move over time, we said there are two ways off making the D formers work. The 1st 1 must have put the d former inside. The object on it works on The second option, which usually is a better option, is to put the two objects inside the now. Here's why. Let's say if I selected the former on you know already that I can move this up or down toe affected from part of the object. But what if I want to leave the former exactly where it is, but I want the object to more through its Not currently, You can't do that because the Cube is the parent. So if I move the cube, the bandit former, we'll move with it because it's relative distance to the Cube doesn't change. I came under the former, which is the child, and that's not going to affect the parent, of course. But if I'm or the parent, it is going to affect the child so you can't separate them away from each other like that. So an alternative way of using the performers is to put both of these objects inside the now. So I just separated them. Now I can select both of these and I press old G on. The result looks exactly the same. I can open that Mulligan now. The result is exactly the same, but in this case the two are not linked to each other in the same way they were before, which means I can select the Cube on. I can actually animate the position on the Cube independently than the position off the bend. I can make the Cuba little told her. So if I got object here and it's a set is 2 500 and if I zoom out a little bit, I can now move the cube again independently than the bed 33. Deformers - Using Multiple Deformers: when you want to deform an object using multiple reformers at the same time, the order in which he applied those reformers is very important. For example, let's say we have a cube here and I'm going to increase the Y size of the Cube. That's a to 500. And I'm gonna press age so I can see the entire coop again on Let's say I would like to use a bend on a twist the former. So I'm gonna create a band on. Then I'll also create a twisted former here on all place both of those reformers inside the Cube. So let me shift. Select the true like that. I'm gonna place them both inside the Cube on. Then once they're selected, I'm going to select the twist first on do fit to parents, and then I'll do the same for the band as well fit to parents on. I'm gonna go and add some segments to the Cube. So if I select the Cube and then increase the Y segments to, let's say 50 now, right now, if I go and twisted. So if I just change the angle of this, it gets twisted like this I can then bend this twisted Cuba four go and increase the strength of the bend. That's no problem. I can just bend it normally, however, if I were to change the order off these two. So if I select the band and places above the twist, it's going to create a funny result like this because what Cinema 40 is trying to do now is first Banded Cube, and then it's trying to twist the cube that's already bent. So the twist object is only touching the cube, where it's not bent. In other words, it's first being bent, so it looks almost like an ark. And then you're trying to twist the first half almost off the ark. And that's why the first half is working fine. And then gradually it starts getting deformed. And it Chris, this weird looking, distorted shape. So to summarize the order in which you apply the reformers is really important when it comes to using multiple performers on one object 34. Deformers - Squash & Stretch, Bulge, Taper: in this lesson, we'll do a quick roundup off some off the most frequently used informers. I'll first go up to the reformers menu here and I'll click and hold it down. And instead of selecting these one by one, I'm actually going to tear this many apart by clicking on this top part here. And then I can place this summer on the side so it sits there, which means I can have access to it quite easily. I'm going to go and start with this fear now, so I'm gonna go create a sphere on. Then I'll show you first. The bulge, the former. So let me go and create. Abolish the former and quickly to put the two inside the no, I'll select them and then do Old G. And as soon as they're inside the mill, the bulge will be affecting the sphere. So if I not select the bulge and go down towards the strength and I can increase this to create a bulge, or it can decrease it to create a pinch effect like this and again, if I move the bulge around, it will only affect the part of this fear that it's touching. So if I do this, it's only affecting the top part of this fear. And you may be seeing that this fear doesn't look quite smooth. Well, again. That's because this fear doesn't have enough segments. If I select this fear and increase the segment count, the more I have, the better the results will be. Let me just increase this. That's a to 75 so that's going to create a much smoother results. And if I go and select the bulge again and then go to my curvature option if I click and drag this, you can see what's happening to the curvature there. And if I not push the bulge down again in towards this fear, you can see what the curvature does, and I can also finally at a fill it to it. But before that, we just press hate on the keyboard, so I go in a little bit. I can add a feel it to it. That's what the fill it does, and I can go and increase the height of this again, or lower this down to create the effect on the lower part or a higher part off this fear. Let me go and delete the bunch and quite similar to the Bulge is another one called squash and stretch. So let me create that now and again. I'll just drop this question straight inside the no. So this will now affect this fear because there now appears off one another. That's what they're called. If the two child objects are inside one parents, those child objects are called Piers off one another. So I'm gonna select this question stretch, and I'm gonna come down to write his factor here, and I'll increase or decrease. And this is what happens with discussion Stretch. So it's not quite bulge or pinch. It's more office coercion stretch. So the volume stays the same and it feels more like an elastic ball that kind of bouncing around so I can use this for all sorts of different things. So the other parameters you have control over here are these. So if I go to the bottom, for example, I can change the bottom off this. So how squashed or stretched the bottom is I can lower it down again. I can do the same for the top can change that as well. Exactly like I did for the bottom and I have the expand option here. So if I click on this slider and dragged us towards right, this will exaggerate the effect, or it will take defect out a little bit. So it's not as exaggerated. And again if I select mice question stretch. And if I move this up and down, you can see the from part of the bull or this fear you'll get squashed or stretched. I'm sure you a couple of other ones, so let me just go and delete discussion. Stretch on. Instead, I'm gonna create this time the Taper, the former, and I'm gonna add the tape of the former inside the mall again. And then the Taper gives you the strength and the curvature, and they feel it as well. On the taper now different than this question stretch order bulge. It's only going to work towards one side, so it tapers it only at the top. If I not go and move this around now, you can see what's happening to it. Look, it tapers it only from the top again. I can increase or decrease the curvature, so they're just going increased this in this case. So if I go click and drag this up, I condone add some, fill it to it and then if I push this down, you can see what's happening. So that's what the Taper lets you go. Let me now go and delete the taper as well. And the other one I wanted to show you here is called the FFT or the free form. The former so far create their 50 the free formally former, Drop this inside the now as well. I can now control the amount of points I have on the FFT. So this critic grid on the great will control how this fear is deformed If I now increase the great points like that. So if I go five by five by five, I can then switch to my point amount here and I can select the different points on I can move them up and down on before I do any of thes really Just go up to my four up views on that I'm gonna make this fft d former more or less the same size as my sphere. So I'm going to switch back to my model mode here and Then I'm gonna press t on the keyboard and then I'll click outside and drag so it scales down roughly about there. And then I'll get to my point mode here and then I'll maximize my perspective. You and then I'm going to select one of these points on Get my move tool As I move this, you see this fear will get deformed based on how you move that point like that, if I know lower the point amount. So if I go to my FF d d former on may be, let's say said the points to three by three by three. And if I knock on this point and then click and drag this, you can see more of that effect here. So depending on how far these points are pulled or pushed, that's how you affect this fear. So you're freely deforming this fear. This is quite similar to the liquefy Trillion Photo shop. If you use that before 35. Deformers - Wrap and Spline Wrap: in this lesson. I'll show you how the rap on display wrap the former's work. So let's start with the wrap. The former first what the wrap the former does is it takes some polygons and it wraps the polygons either around the cylindrical or spherical surface. So, for example, let's say we create a text spine. So if I go and credit, explain here on it's going to change the text from text toe Digital Me again. So if I go and type in Did you did me? And if I press tab it to come out of this and I can align this to the middle on, Of course again, I need to extrude this so I can see the text properly because otherwise it will render. When I press commander, you can see there's nothing when I press commander. So I'm gonna go and create an extra object which was here, if you remember, and I'll put the text inside the extrude, so that will create some set of polygons. And then, if I was, women should be able to see this a little better now on. In order to deform the object again, I'm going to go first and collapsed this so it doesn't get in the way on. I'm going to select the truth and then the old G, and that will put them both inside and all. Now it looks in Iqlim messy, so that's going to see if we can fix this. What's happening here really is the extra object is being wrapped around the cylindrical shape, but it doesn't quite work because we didn't adjust the size of the rap object. Let's first go and do that. So let me switch to my four of you and I'm going to disable the rap objects so it doesn't affect the extra object anymore. On what you need to do is to make sure that this rap object here, this square lines up perfectly with the object in this case, the text that you want to deform. So let me select the rap on that. I'm going to go and change with and the height in order for that to line up perfectly. So the first guy and increased with and then I'll decrease the heights, and I'll actually move this up so it lines up again with the text roughly about there. If I don enabled the rap. You see, this will work much better now. And if I go to my perspective, you and maximize this now the Texas being wrapped properly and I can now change a radius off the cylinder that it's being wrapped around like an increase that or decrease that. So if I said this to be, let's say, 450 that's the radius off this imaginary cylinder, the Texas being wrapped around. So let me first go and create is still in there so I can show you this. If I said it's radius to 4 50 as well, I can then push this back. You see, that will line up perfectly if I just get this in the correct place, that we just go to the top for you. Maybe. And if I do all take so I can see all of these in all different views. If I move this around, you can see that it will line up perfectly with that text there. And if I make this a little taller, so if I select the cylinder goto height and if I increase the height a little bit, you can see if I know Go back to my perspective, you on just so that it's a little easier to see this. I'm going to change the color off the extra object or go to extrude basic on go to use color changes from off toe on, so that should turn right now. And there you go, if I know, spin around a little bit so I can see what's happening here. And of course, there was one more option. If you remember in the rap object under the object tab, instead of wrapping this around the cylinder, you can actually wrap this around the spherical shape. So if I go and true spherical, the text will be wrapped around the spherical shape. Now that we're just going disabled, that still in there so we can see what's happening. And you may notice now that the Texas actually deforming quite strangely now that's because we don't have enough segments again on the front side of this text. Now, to fix that, you can go to the extra object and then clicked. Open that spine up. I can then select the text and I can come down here towards us intermediate points and I change it from adaptive, which is going to be the quickest one that renders I'll change it from adaptive, so uniform and then that way I'll have access to these controls. I can increase the number here on the higher the number that smother the surface should look. If I know, zoom in, you should see that it's actually wrapping around perfectly on. There's no distortion on the front surface again to show you the radius off this. I can go and create a sphere on that was set to 4 50 So let me make the radios off the sphere for 50 as well. And if I go to the top, you I can move this fear back like that's on. I'll lift it up a little bit as well, from the right of you, just like that on you See now the Texas wrapping around perfectly around the sphere. So if I go maximize that view again on here ago on, there are some other options on the rap object. If I go select it, you see there's this option for the longitude. Start on the latitude start as well as the longitude and latitude end. If I go to hear what is longer should start on, click and drag this You can see I can squash this or stretch this This is this Imaginary is here. I'm squashing or stretching and I can do the same for the latitude as well. So if I click and drag this around, it goes up or down. Like so. Let me debate this fear that we just created or disable it. At least on then. I have these options here as well the movement, the scale and the tension. The tension is the actual wrapping around the sphere. So far, click and drag attention down. You see that kind of releases it or relaxes it. I can increase this or decrease Tous on. Then the moment is actually going to start moving these objects up like that. You can see increased attention again to around the percent on then This scale said, is the extrusion amount. If I go on increased this, that changes the depth off the extrusion off the text here. The other d former I wanted to show you here is display rap on the to wrap The former is the rap on display rap. They do quite different things. Let me go and a little of these first, So I'll select them all on press delete on the keyboard. On that, I'm gonna go and create an object. Let's say like a cylinder or a capsule. Let me just start with this sitting there, maybe. And then from the top view, I'm going to draw a splint because the spire app needs a splint work on. So I'm gonna go get my pen. Make sure that this pen is set to the beast blind so I can draw a small spine on a zoom out from the top view on Just draw a spline that's quite random like this. So I'm gonna go click, Let go, click, let go, and then click on, then maybe click here and I'll do it loop again. I'll just go here and then again and again on somewhere here and then I'll press escape to finalize that creation on Don't get to my perspective. You with the move tool. I'll select these individual points on all randomly move them up or down. So I'm just gonna maximize the perspective. You and I'll press age so I can see the whole thing. I'll just click on these points on, move them randomly again. Like I said, down or up so that the shape doesn't look quite flat. So I'm gonna do the same here as well, more this up a little Merry go and I can see a tree. These two are almost intersecting. If I go and see it from the financial, Yeah, they're not quite touching each other, but they're quite close. So that we may be Go click on this. Lift this one up so they go away from each other. No, I'm not gonna create a spy rap. Then I'm gonna go make this cylinder lay flat on the X axis. So I'm gonna select the cylinder and got orientation and change it to X on. I'm gonna press the letter s that's going to bring the cylinder to the center off the view because that's the one I had selected. And I'm gonna select this limber and hold on command and selling display rap, and I want these two to go inside the mill. So the way they work is exactly the same as any other the former. So you select the object to be deformed are you selected The former on you place them inside the mouth and then you open that no up. And then inside the spy rap, it's now asking you The first option here is asking you to tell it which supplying it should use to deform the object. So I'm gonna go and drag this plane literally on top of this playing field here, and then I'll let go on. Then if I go and zoom back out, you see, the shape looks quite strange. The reason why this is happening is because the cylinder doesn't have enough segments now. What's happening here is that the cylinder is trying to stretch itself along this plane now because it doesn't have enough segments on the height. It's just creating this funny distortion. So let's go and add more segments to the height as I go and increase this. You see, the cylinder is taking the shape of the spine more and more so the higher the number, the closer to fit. So if I go and click and drag this up, you can see now the cylinder is almost identical to display. You may be saying, Well, how is this different than a sweep object. Now it looks similar on the surface. But if you actually go to display rap, you can come down here towards his mold on you. Change it from Fitz plane, which is basically extending the shape in this case, the cylinder along the spine. Instead of that, I can say keep length on. That's going to keep the length of the cylinder. And if I now go and animate these options or change these options, I should say, If I go and click on the offset on, drag this towards right, look what happens to the cylinder. It travels along this plane like that, you see travels along on as it's going around corners or Ben's. It actually starts bending itself as well. So let me zoom in so I can show you what's happening there on there. So as I go on increased offset or decreased this you see, it's not staying as a perfect cylinder. It just bends itself as it's going around the curve like that. And again, if the results are quite edgy like they are here, that's not because in this case, the cylinder doesn't have enough segments because we ensured that it does have no segments . That's because the shape off this plane so I can go to the spine just like we did for the previous rap. I changed intermediate points from adaptive to uniform. I then increase the number here. So if I go and click and then dragged us up, it's going to make that much smoother so I can see that no longer has those funny edges anymore. 36. Deformers - Collision: we will not talk about the d. Former called the Collision the former. Now, this is one of my favorite performers. Let me show you how it works and what it does. So let's go and create. Maybe this time a plane and together with the plane, I'm also gonna create this fear on with that I'm gonna create a collision. The former as well. And then it's press hate so I can see all of the's. And what the collision the former does is that it simulates a collision between objects. Here's how it works again. You take the object that you want to deform in this case, the plane together with the collision D former. So I'm gonna hold on command and click on the collision the former and I'll put the two inside and Mel so that the collision the former will affect the plane on. Then open that Mel up so I can select the collision informer and I'll go in here to the tab called Colliders, and I'll drop this fear as my first collider. So just go and drop this in here. And what happens here Is that the collision the former is telling the plane to be affected or deformed by the shape, size and the position off this fear. So if I go select this fear now and if I lifted up you see it's actually deforming the plane as it touches it. Instead of going through it, it's deforming the plane. If I push this too far, that's gonna jump to the other side. So if half of the sphere is below the plane, it's appearing as if it's pushing from underneath. If half of it is above it, it appears as if it's above the plane and its deforming it as such. Let me first ism out so I can show you a couple of tricks. With this, I can actually make my sphere quite large. So if I press t and then if I increase the scale of this, liken them, push this fear down below the plane like that, I can actually no make this fear invisible. So if I go to the traffic lights here and hold on Ault so the two will change at the same time and then click on one of them twice So the sphere disappears. I'm left with just a plain now and if I now select this fear again, and I can move it left and right, and you can create some really interesting animations with this, and if the results are looking as smooth as you want them to look, you can increase the segments on the plane as well as increasing the segments on the sphere . So if I go on, select the plane, increase the segment on the width and the height. So if I go and set this, let's say toe 75 by 75. You'll now start seeing the segments off the sphere. It zoom in so you can see what's happening if I now select the sphere. Although it's invisible, the segments off are still affecting the plane. If I go on increases segments, let's say I said this to a 75 as well. That's going to create a smoother result. It should update now here, but it's going to take slightly longer to process. So if I knock, click and drag this you see it's not a smooth. The playback is in a smooth. The result is quite smooth, but the feedback or the playback isn't going to be a smooth because it's not having to think about a lot more segments than it did before. You can use this collision the former with all sorts of different objects. Let's first go and delete this fear on I'm going to create a text, displaying instead on going to extrude. That explained by using an extra object here, and I'll put the text inside the extrude on, I'll make the extra object a little smaller. So I'm gonna press t to scale this down on Let me change the spine as well, from text to, let's say the form and I'll make this even smaller. So I'm gonna take the extra object and then t I'll make this smaller and I also select the text on Make This Middle Alliance are select the text, make this middle aligned and I'll press S so that centers the text in here. And then I'm going to go to my collision and I'll select my extrude object and drop this inside the colliders field here and now the extra object is now going to start deforming the floor. So if I select extra object and maybe increase its extrusion from four to, let's say 10 and then if I go to extrude, hold on, hold and click on one of these traffic lights so the two will turn off at the same time. If I click once twice and if I now rendered this, you should be able to see some sort of information on the floor. So the collision, the former is a really useful one when it comes to making the two objects intersect and touch each other on one deforms the other. 37. Generators - Array: in this tutorial. We'll have a look at how the generators work and in particular will talk about the array generator. Now, the generators are all up here. All the green objects are called generators in cinema 40. So if I go click and hold it down here on because I'll be using this quite a lot now I'm gonna go and tear this many apart by clicking on the top part here. And in fact, I'm gonna dock this on the interface that say appear so they're here when we need to use them. Let's start with the array object. Now the array takes an object that you place inside of it, and it creates multiple copies off that around the circular array. Let me show you how it works. If I go and create an array and if I go and switch to the front of you, let's see here on I'm gonna get my pencil on. I'm gonna set that to be the beast blind mode. So I came draw smooth lines on. I'll actually Chris Fear as well, so I can use this fear as reference. What I'll try and do now is to create a type of ornament that will wrap itself around this fear. And then I'll take that ornament, place that inside the Ari And then the array will create multiple copies off the tournament around this fear, Let's see how it's done. So let me maybe start by going here and I'm gonna click and then come up here and then click on now, go around that way and then come again and then I'm going down and then I'm gonna click here and then I'll try and go around this fear like this. Maybe one will click here and here and then eventually I'll come down here and then maybe go here. All the Empress escape to finalize the creation of this plane. Let me now is women to see what this looks like? A top. So I'm going to zoom in now. I think this is too close to this y axis. You see why this may be problematic in a second? So I'm gonna go and move these points out. So I'm gonna select that point with the move tool. Maybe with this here andan arsenic this point as well and then maybe moving down and towards here and then maybe finally select that point as well to create a slightly better curve. And maybe, actually, I'll move this one up and that way as well. It's a bit that should be a little better now and then two separate this entire spline from why access when you select this and then move this towards right as well. So that should do the trick. Now, I'm not gonna go and zoom out. I can just press hates to do that on. I'm gonna create a sweep. And then we will place this plane together with a circle inside this week so we can create some polygons from this. So if I go and create a circle on this is to a big knows, I'm gonna change the scale of this. I'm gonna press tea and then make this quite small. Let's see about that size on. Then I'll place the circle inside the sweep on display now just created that goes under the circle. So we had this shape. Now let me see this from the perspective. You I think the circle could be a little smaller, actually. So I'm gonna select the circle and then maybe make the radius of this go down to, let's say, four and then what I'll do now is to select the sweep and then place this inside the Ari so the array will create copies off that sweep object by default. It creates seven copies so altogether you have eight off these objects. But if you select, there are a United States settings off this so I can increase or decrease the copies from here. So let me set is to, let's say, 10 copies in total, so I have 11 objects together with the original one on. Also, what's happening is if I again go to the top view. What's happening is that the array objects creates this imaginary disc or the circle, and the radius of that circle is set to 2 50 on those copies are placed on that circle. So if I decrease that, so if I go and click and then drag this down, you can see what's happening to that. So it's getting smaller or larger, so actually settings to zero on. All of those should then wrap around this fear perfectly because I used this fear as my reference on. In fact, I don't want them to be that close to each other. So I'm gonna go and increase the radius, maybe by a couple of units, so something like that may be. And if I press h so I can see the entire shape on Dhere, we have a nice looking ornament that goes around that this fear. Now let's say you know, want to twist this ornament a little bit on Lee around the center point where this fear is . Well, that's easy to do again now. So if I collapsed there right, I could not create a twist The former we looked at authority in the previous tutorials on For this to work, we take the twist and object that you want to deform in this case, the array, and you place both of them inside. Annul my present command G. And then I can select that on Go to the twist, an increased angle off the twist. And you see the whole thing will start spinning. And when you do this, if you're spines are getting a little deformed and you want to fix them. If you remember, you go to the splint. So if you go to array and then the sweep. And here's the information I'm talking about here, So they're not looking very smooth. You can see here if I now go to the spine and then if you remember, we go to the intermediate points, change it from adaptive to uniform so we can dial in this number here on the higher this number that smother that splitting will be. If I decrease this, you see what happens. And as I increased, this display gets smoother and smoother for them. Press hates to come out of this. You see, we have ourselves a really interesting looking shape. Now, if you want the entire thing to be twisted, I can that's like the twist and then increase its height. You see, all of the shape is twisted rather than just the center point. You can twist the entire shaped like this and to take these one step further, I can collapse the array and then go and create a bend and then place the band under the twist not inside. The twist were under the twist like this, and then I can make the band a little told her as well. So that covers the whole shape and then I can start bending this as well. So if I increased its strength, you see all of that will get bent. But because the sphere wasn't part of it, that getting it bent so I can fix that easily by placing this fear inside the mountain just above the array. So I'm not bring this inside the array because I don't want to create multiple copies of this fear. I just places inside the mill above there, Ray. So this fear gets deformed as well. I can then go and increase the segments on the sphere. Because if you look at this, this fear doesn't look quite smooth. So I can go and increase the segments off the sphere. And that's looking my smoother now and now we have ourselves a really interesting looking shape, and I cannot collapse this null on. That's all we have here. So if I go and render this, if I do, command are that's the shape we just created as you work in cinema 40. If these reformers are getting in the way, you can simply turn them off by going to filter. And there's an option here for the former. You can go and turn us off. In fact, this is where you go to turn the visibility on or off pretty much any object. So if I go to the former and turn it off, you see the D formers will disappear, they won't lose their effects. So the objects are still being deformed. You just don't see the outlines off those d former's to take all of these one step further , I can go and create another array and then placed this now inside the array. And now I have copies off the now which has copies off this fear on the ornaments. If I Now go zoom out on there. You go on, then If I do a quick, grander get some really interesting results with this Now, the more objects we have in the scene, the longer it will take for the render to complete and connected to sea towards the bottom left corner. How long this render took. So this took about two seconds to finalize and if I increase the amount of copies I have So if I goto array on, maybe increased the copies from seven to let's say 15 and if I know, render this commander instead of two seconds. Now you see, it's gonna take a little longer. In this case, it took three seconds on. That's something you need to be aware off. The more polygons we have in this scene, the longer it will take to Rendah on. I can increase the radius of this just by clicking and dragging that number up on that. He said that maybe two, 1000 on defies amount. Here we have ourselves a really interesting looking set of objects. All started from a sphere on a single ornament. That's them being put inside an array on the array. Is them being copied again by using another array? 38. Generators - Atom Array: Now let's have a look at how the Atom Marie works now the at Emory, which is here. You'll taken object that you place inside, and it will turn all the edges into cylinders on all the points on the object into spheres . Now here's how it works. That's 1st 1 creator Cube, and I'll simply place the cube inside the at Emory and you see as soon as I do that all the edges of the Cube are now turned into cylinders on all the points are turned into spheres. Now the quality isn't great, so it doesn't have enough segments. Let's go to Data Marie on. You can see that I can increase the radius or the subdivisions. So if I go increase first the subdivisions off the entire shape, so I have a better resolution. Object here and then I'm gonna go and drag the city in the radius. Let's say through one and then this fear radius. Let's say 23 Now the way you increase or decrease the amount of selling there's all this fear you have is by adding or subtracting polygons from the cube. So if I go to the Cube on go to segments X. You see, every time I increase this, it's adding these segments. Let me first quickly go and disabled at Emory, and if I go impress and be so I can see these segments, you can see all these edges are turning into cylinders on old intersections or the points here are turning into spheres. So if I going increase all of these, let's say 23 by three by three. And if I don't enabled at Emory, you see, now we have ourselves a cage like shape. If I press n a, I can get off those lines and just see the shades. There you go. Now you can create some really interesting things with this atom array. Let me first go and get rid of the Cube on. Instead, I'm gonna create a sphere. And here, let me show you one of my favorite shortcuts in cinema 40. When you press shift and see, it brings up the command line. So if I not go and type in whatever I like, here's for four grand type in sphere on. A soon as I start typing s then P, it starts listing all the objects that include those two letters side by side. So I have my sphere here. I can score and create that so that such a useful tool I use that all the time. If you don't know very specific tool or an object is you can simply go and type in regardless of what tool you have selected. At the moment, you can just go and type in shift, see, and then start typing the name off the object your after let's say you want to create a platonic. So if I go and type in platonic, you see a list all those objects. And if I call finalizes, it will list all those objects with the letters P L A T side by side and I can just go and press, enter or just click on any of these objects. In this case I just want a platonic on. There we go. If I don't pull the platonic out, you can see did indeed create that right? That's one to remember Now back to our at Emory. If I place this inside that Marie on, then you can see all the edges off This fear are now turned into cylinders and all the points are turned into spheres, and I can actually change the appearance of this again. If I go to the type of this fear, change it from standard to, let's say, a tetrahedron. You see, this changes the distribution off the points and the edges. And again, you have a couple of different options here as well. So you have X. I had drawn Tetra Head on October. John and I, of course I had drawn and also hemisphere, so they will look slightly different than each other. And once I had the shape that I like, I can go to my D formers. Let's have a likeness to be slightly deformed or distorted now. So if I not go to the display, sir, the former and then place the displace of the former inside this fear and what the displaces the former does is based on the shading tab. Here on the shaded that you create, it's going to start displacing the object. Now, if you want this to look random, there's a shader called noise. So if I go to the shader on go to noise, you see already that this is slightly this place now and the displacement happens based on the shading off this noise. Now, if I now go back to my object tab on, I can increase the strength or decrease this to make the overall effect more or less obvious on when I render this, Here's how it's gonna look. And if you like to reduce the number of cylinders or the spheres, all you need to do now is to go to this fear and then decrease the segments. Because remember, that's what the atom array is basing these cylinders and spheres on the amount of segments you have. So if I decrease this, the fear of the segments, the fewer decision there's order spheres that I'll end up with find out press age so I can see the whole model and then do a command are to see the final results. 39. Generators - Boole: in this tutorial, we'll have a look at how the bull or the Bull Ian object works. Let's go and create it. What the bull object does usually is that it subtracts one object from another one. Here's how it works. Let's say we go and create a cylinder on together with the cylinder. We also create a tourist. So if I go create a tourist as well, let me make the tourist a little smaller. So I'm gonna press t and scale this down and our press age to go closer to these. And let's say no. What we want to do is to take the tourists away from the ceiling, their object and his other works. You place the cylinder, the main object inside the bull first, and then you place the object that you want to take away from that one under that object. So the tourist goes on. They're not inside like this, but under like this. So the white arrow needs to be pointing left. Then I let go, and right away you see, the tourists is taken away from the cylinder and I cannot select the tourists on. Move this around so we can see what's happening there, so this can be used for all sorts of different things. If I select the bull, you see the bullion type. The first option here, says a subtract B a being the first object and be being the second object. So it's set to a minus. B. You're a couple of other options there as well. So if I go and select a union, be so this will combine the two shapes together. And then if I select a Intersect, be it just shows us now the intersections. If I go and see here, if I zoom in, it's now just shows us the intersection point. So if I go move the tourists out, if I select it and then move the tourist out You see, I'm not just seeing the intersection point so better to objects intersect. If I go back to bull on, if I switches back to a subtract B, I can see the tourist is now being subtracted from the shape that I had that is still in there. Push the tourist back to where it was like that on. Actually, that was just going sent. It is perfectly. Let me go to coordinates, and I'll set the X coordinates to be zero. And then if I select the bull again, there was one more option that says A without B on. That's going to give us a similar result. But in this case, it's not going to create the inner caps. So if I say A without B it, just subtract the tourists from the cylinder without creating these caps here. So this is like a fake bullion, so in this case, it's not what we're after. So I'm gonna go and set this back to a subtract, be the default operation. And if you want to have multiple copies of the tourists for multiple objects to be subtracted from one object, the way to do that is as follows. Let's say, for example, if I command dragged us down, you see if I want to subtract this one as well, because the bull only works with two objects where it says a subtract. Be here by selectable. It says a subtract B because it just works with two objects. The object a sit in there and object. Be this tourists. If I want these two to be subtracted at the same time. The trick to do that would be to group them inside the mouth. So if I shift, select them and then the old G. So now my null becomes my be object. So the cylinder minus the null. So if I know open the mail up, I can place pretty much any object I like inside the mill and every object inside the mail will be subtracted from the cylinder. So if I select the second tourists on, that means will mark a little bit on. Then I can command dragged us again to create one more copy and there's our shape. Let's have a look at another use off this bull. Let go and delete everything first. So if I select them all and then delete them, I'm gonna go and create a text blind now. So let me just go get might explain tool Here on, I'll change a text from text to, let's say, engrave and all press hate so I can see the whole thing again, and I'll set this to be middle aligned and then press age again on. Then I'll change the font from whatever it is to something quite thick. Let's say maybe like Ariel Black. And I'm gonna go and add this inside an extra object. So I'll drop this inside the extrude object here and now what I'm gonna do is to create a cube, and then I'll take this engrave object away from the cubes are subtracting grave away from the cube object. So let's first set the size of the cube. Right? So I'm gonna go to the front view on, maybe move this up a little bit, and then extend this. I'm gonna zoom out a little bit and then change the size of this cube. My using these robots. So there. And then I'm gonna make this a little thinner as well. From the top. Maybe about there. And then I'm gonna go back. To my perspective, you maximize that andan all credible and I collapsed extrude object. So it's easier to work with. And then I'll place my coupe as my first objects or objects a inside the bull. And then my extrude object will become object. Be so that goes on the cube. Now. Nothing seems to have happened because the extra object is inside the Cuba now. So let me first go and stick this out a little bit, so I'm gonna go push this back out. There you go. And I'm also going to make this slightly longer on the said like that. And here's a good time to mention one glitch with this bull object. Let me show you what that is. If you notice some of these letters in this case, letter are doesn't quite work. And as I move this around, you may see that the other letters are getting funny as well. Then I get this weird glitch. So let me under that the reason why that's happening is because on the bull there's an option that says high quality. And this usually gives a great results, especially when you have round and smooth object with lots of polygons. Now, in this case, that's messing everything else up. So I'm gonna go and turn this off, and that should create a better result now. So we get this fine looking text and I can actually pulled extrude towards us a little bit , so it's not as deep extrusion on. There you go. So now if I render this, you see the text to be in great onto the Cube. And if I want to see through the Cube, I can just push this back towards their and it seems like the depth isn't enough so I can go to extrude and increase the depth here a little more. And that should give us a perfect cut out. Let me show you one more exercise with this bull. So I'm going to go and delete the bull again on I'm gonna go and create a cube and also a sphere. And I'm gonna increase the sphere's radius by doing this if I now credible and then put the cube inside the bull and then this fear goes under the cube. Here's what happens. So the sphere is not being taken away from the Cube. If I know make this fear even bigger, I can select that. Make that a little bigger like that. I can then create another cube and then make this cube a little smaller and they can create a nice looking crate like effect. It might be a little easier to see this if you change the color off one of these objects. Let me go to this main cube here and then go to basic and then use color. I'll change that from off to on on. I'll also change the color off this cube here. So I'm gonna go select the cube. Got a basic use color on. And I'll make this a slightly different color that say Maybe, I don't know a shade of green. And if I render this, you get this interesting look. And of course, you can tweet this to make this the perfect. So if I go to the Cube, I can make this slightly bigger. So that lines up perfectly there and then do Orender. And here's what we have now sort of summarize. You use bull any time you want to subtract one object from another one. 40. Generators - Spline Mask: in this lesson, we'll have a look at how the spine mosques work. Spline mosques are used to create a single spine based on multiple spines. Here's how that works. Let's say, for example, you want to create a shape like a spanner. So I'm gonna go and create a rectangle first on. I'm gonna do this from the front view. So they just go to my front view quickly and then I'll select a rectangle and then go to object. And I'll makes rectangle a little wider like say there and I'll make it slightly shorter like this on. Actually, let's round these numbers off. So I'm gonna make this, Let's say, 800 my 75 on. I'm gonna go and create a circle as well, and I'll reduce the radius of the circle. Let's say 2125 and I'm gonna move this towards here. I'm gonna move my cameras well, and right now we're two separate shapes. Let's say, for example, what we want is for these two spines to be combined into a single one. So for that we use the spine mosque. If I go and create one on simply fight to select these two rectangle and the circle and drop them inside the spine mosque and right away you see that the intersection here will disappear. Let me go and disable the spine mask that's without the spine mosque, and that is with the spine mosque. My If I select displaying mask object, you see the mold is set to union, so this means the two shapes will be combined into one. And if I now go to my rectangle, I can make this a little told her. So if I increase the height from 75 plates, 100 so when the handle is a little bit thicker, I cannot collapse the spine mask on. Then let's say we create an inside a polygon here that I can subtract from the rest of the shapes. So for that, if I go and correct an insight, so if I click and hold it down on the pen, I have my inside here. I'll just move this in place. Let's say something like this. I'm gonna make this smaller on more this back a little bit. Let's say now I want the inside to be subtracted from the rest of this plane mosque not for that I'm gonna need to create a new spine mosque. So if I go and create a new one and this time I'll use my old supply mosque that's actually go and rename these. We'll call this rectangle plus circle, and then I'm gonna place this rectangle plus circle inside my new spine mosque, and then I'll drop my end side underneath that of insight. But underneath that and by default, you see the two with emerged. But I want now this time the inside to be subtracted from the rest of the shapes. So I'm gonna go to my top level Splain mosque, and I'll change its mode from union to subtract a subtract B A being the first object, which is a rectangle plus circle and inside is the polygon there. I cannot select my inside and then just make this slice smaller and then maybe move this in a little bit more. And then there we go. If I now go to my and here is well, let's say, for example, I looked at the new circle here so I can go and create a new circle on. I'll make this the same might as the handle. So that's going to be 50 on the radius and I'll move this in place. Let's say here on that I'm gonna get this circle inside this rectangle plus circle because this plane mosque is set to union. It unifies all these objects that are inside of it. And if I collapse this, I can create another circle. I can actually open this back up again. Take this little circle and then command, drag this out. So I have another copy off that. Then I can collapse this and then I can make this new circle slightly smaller. So I press t to make this slight smaller. I can then take this circle and place this under my inside so that now gets subtracted from this rectangle plus circle as well. If I know, go back to my perspective, you and maximize that I cannot place everything inside. An extra object so far collapses as well. Placed this inside the extra object you see. Now we have ourselves a nice looking spanner that we created in a matter of minutes. And I can finalize the model by may be creating a little chain piece here. So let me go there on maybe in fact, switch to my talk for you if I go to my pen tool from the top view. And if I get that to be a b spline again, I can draw a curved path like that that goes through that circle. My name is amount, and I'll just come around and then maybe click here and then once I do that, I can then get my move tool from the perspective you I can select on drag this up on, maybe select that on, drag this one down, and then maybe select that point on. Drive this one up, and then if I maximize this view and then create explain, that's a circle this time on, make that circle smaller. That's going to be the thickness off our chain on. Then I can place both of these inside a sweep. So if I go and create a sweep, place that circle inside the sweep on displaying under the circle and there we have it. Let me press H so I can see the entire model. I'll just change my uncle like this So the spline masks are really useful when it comes to creating a single Splain based on the various combinations off multiple, explains 41. Generators - Subdivision Surface Part 1: in this tutorial, I'll show you how the subdivision surface works. The subdivision surfaces a generator, so it's a green object next to the other ones in toolbar on. What it does is that it takes an object together with all of its polygons off course, and then it divided those polygons into smaller ones to create a smoother results. Now the results will look smoother, but the down side to this is the longer render times. So that's the tradeoff re heavier if you want the renders to look smooth, which means you need to create more polygons that's going to take longer to Rendah. Let me show you an example here. If I zoom in to this paint here that's coming out of the truth, let me just come down here and zoom out. Maybe a little bit. Now. This is already looking smooth, but if I go to the right inside and there's a subdivision surface that's been applied to this paint, if I go and turn its on, look how much more smoothness this adds to the paint. If I go and turn it on, this is now on. This is before let me go and turn on the lines as well elsewhere for grand press and be so I can see the lines to. If I then turn this pain subdivision surface on, you can see how many more segments we have now. So that's why the results are looking smoother on. I can do the same for the tube as well. So by default, the troupe has this subdivision service turned off. If I go and turn this on, you see how many more segments this will add to the tube look. So that's creating all those programs. And that's why the shape is looking much smoother. If I not take the lines out by pressing and a this is with the subdivision surface on this is without. You can see how much of a difference this object makes, and I can show you the same thing for dread to better back as well. So if I zoom right in here on the paint, if I go and turn us up division surface on, this is what it looks like now so you can see it's much some other, and if I do the same for the tube as well, this is without the sub divisional surface on this is with the subdivision surface. Usually the workflow is that you create your models with as few polygons as possible so that it's easier for the computer to handle the processing, and then when you want to smooth out the results, you add those objects inside the subdivision surface. 42. Generators - Subdivision Surface Part 2: now to explain to you how the subdivision surface works. I'm gonna go and critic Cube, and then add that cube inside the subdivision surface. So I'll just place it in here and right away. You see, this looks more like a sphere than a cube. Now, what the subdivision surface does is if I press and B it takes the cube and it divides the cubes polygons into smaller publicans. Let me just go to my front feel so I can show you what's happening here. And I'm gonna press end, be on the front view on it, Mrs Women and you see, the cube had two sides, so there was the left side on the topside. And what the subdivision surface does is that it rounds the polygons off to go from one angle, which is this side to the other angle, which is that side. Now. The reason why this doesn't look very smooth is because the subdivision surface doesn't have enough segments. I can increase this and you get two options. One is the editor subdivision surface, which will basically change what you see here and the other one is the subdivision surface off the render so usually what you do is you lower this number down and then you increase the second month so that your computer doesn't struggle too much. But when you do the final render, you want to create better looking small, the results. That's why this number should be higher up just so I can show you what I'm doing. Now I'm going to up both of these numbers 24 So I'm gonna go and increases to four as well as the subdivision on the renderers. And now you can see a much smoother results. Let me go back to my perspective, you And here you can actually see all those polygons that are created and the result is much smoother. And now, if I go to the Cube and add more segments to the Cube, look what happens to the actual appearance off the subdivision surface. If I add more segments toe, why, let's say I increased this. You see, there isn't any difference between the angles on the Y segments. That's why this is a straight line or two straight edge. But there's a difference on the angle between the why and the X or the Y, and Zed segments. That's why this is being curved. So the more segments you have just reduced us again. So the more segments you have on object, the straighter the edges are gonna look. So if I'm not going to add more segments to the X, let's just go increase this. So that looks more like a cylinder now, because now there's no difference on the angles between the segments on the X. That's why the X here is looking more straight than the why and the set on the decreases segments on the X again, back to one. And then what I'll do now is to make this cube irritable, and then I'll get to my polygon mode, and then this will show me the actual polygons that make the Cube. I can't quite select the polygons that make the subdivision surface yet, but I can select the polygons that make the actual cube. So if I go and turn the subdivision service off, you can see these are the polygons I can select. And if I not turn this back home, you see that polygon with around it, and I still have it selected. Now what you can do with this is to use a combination off your extra tools if I now go impress I to create an extrusion inwards and then pushed us in. And then if I switched the subdivision service off, you can see what's happening here because there's no angle difference between these two edges here. That's why the top part is straighter than the side. So if I go and turn it on again, you see the top is straighter than the sides. If I not push this up with the extra tool you see, that's what I'm getting now. And if I turn this back off again on that Miss Woman because now there is a difference between the angle off this program on this one. When you turn this up division service back home, it's going to create a nice, smooth curve there. So that's one important thing about the subdivision surfaces to remember. When the angles between the polygons or the edges are greater, you're going to get more off a curve. And if the angle between the polygons isn't great or you have a straight line between the polygons, when you drop that object into a subdivision surface, you're not going to get much of a curve so I could not scale this top part down. So I get my scale tool. Just scale that down. I'm gonna get my extra it'll again and push this back up on. Maybe I can rotate this by using the rotate tool. I can just pull this down that way and then extrude again by pressing d on that, we move up now on. I cannot such my subdivision service off and I can select all these polygons by getting my selection tool on the polygon mode here. So I select all of these polygons. I'm just turned around to make sure that I have all of them selected. I'm gonna hold on a shift to select These is rela on. I'll select them all and then turn myself division surface back on on. Then I'm going to go and scale these down on the Y axis like that and I'll move them down as well like that, and then maybe scale them down proportionally by clicking outside and dragging towards left and then prissy and then score. She's down and again scare them a little bit on may be Move them all up getting the move tool on dairy Go. I'm not gonna go and zoom in on that spin around and then select that polygon on Empress D again. I can extrude this and then maybe our I can go that way and d again. I can extra this up again and then maybe t so I can scale this way down like that. But that is about impressed. Page on. I cannot render this and you see how smooth the subject looks and without the subdivision surface, Here's how that would look if I go turn us off and then render this here. Here's what the same object would look like without the subdivision surface. And here's what it looks like with this subdivision surface. So quite a big difference. 43. Generators - Volumetric Modelling Part 1: if you're using cinema, 40 are 20 or later you'll have access to what are called volumetric modelling tools. Volumetric modeling is an amazingly simple way off, creating beautifully rendered organic shapes. Let me show you what I mean. I'm gonna start by creating a cube, and I'll add this group inside what's called the volume builder so we can get the volume builder by going up to the building menu here. Or you come down here to do the volume builder tool and just created here. It's a generator, which means I have to add the Cuban side of it. And as soon as I do that, you see that the cube looks a little too pixelated. I'll come to the reason why that is in just a moment. But first, let me show you how to render this out. If I just want to do a simple rendered by pressing command, are you notice that the cube doesn't get rendered? Just explains the volume tools or the volumetric objects by default do not render on their own. You need to add the volumes inside what I called volume measures so far. Now go and add a new volume measure to the scene. I can drop my volume builder inside the volume measure. So those three D looking pixels are now meshed into polygons, which means for now rendered This are will see results on. You'll see that the edges are a little too rough. Still, let me now go to the volume builder and actually turn off the volume measure so I can show you what's happening with these pixel like objects. The volume builder creates what are called VOCs. ALS evokes. So is a volumetric pixel on. You see the vocal size here. So if I go on increased vocal size, you see those three d pixels are much larger now. This is going to run the faster, but it will end up creating a rough shape. There's if you lower down the size here that's going to look more like the cube. So the smaller decides the closer it will look to the actual shape that you two inside. If it's but it will take longer to render, and if you decrease is a little too much, it's actually gonna give you a warning like that, saying that the vocal size may take a long time, to calculate. I'm gonna press cancel here. And I said it's now to something like five because we can always come back and tweet this afterwards, and I'm gonna enable my volume measure. The really cool thing about the volume tools is that you can combine multiple object inside the same volume builder. So let me show you how that works. I'm gonna go and create something like a tourist, for example, I'll lift this up and then push it to one side and you see the two intersect right now, but there's no kind of interaction between them. If you want to fuse the two together, so it looks like a single object. You can add the tourists inside the same volume builder as the Cube. And right now they're just looming here so we can see what's happening right now. You can see that the Cuban the tourists are now intersecting each other and they're kind of fused together. So I'm just going to a quick render here so we can see the results. And you'll also notice that the shape still looks a little too rough. So these areas here, but it's who are fused together, aren't perfectly smooth and against movies out by going to the voting builder, and you can create what's called a filter. I filter down here works very much like an adjustment layer in photo shop or after effects . So you create the filter just by clicking on this. The 1st 1 is this SDF small filter. If I create one that gets created above everything else and whatever is under the smooth filter gets smoothed out. So, for example, if I take this small filter and then put this between the tourists and the Cube, only the Cube gets mooted out because that's the only thing that's under the smooth filter . If I put this all the way at the bottom, then it's gonna have no effect on the scene. I'm gonna push this all the way to the top. So this moves out the tourists and the Cuba at the same time, and I look at the intersection between the two. These are fused together perfectly. Let me go to SDF smoother and click on this so I can see the settings off it down here. And if this small thing is a bit too much, you can come down here towards the strength and slow this down and you can tweak our smooth . That surface is going to look so or something like that, I think works good for now. Another good thing here is that Israel is combining shapes, which is the default behavior. Off these tools. You can also subtract shapes from each other. For example, if I got a tourist here, it says Union, for the moment, which means it will just fuse the tourists to the Cube. But if I change it from Union to subtract, it now cuts out the tourists from the Cube. So if I now go and move the tourists around, so if I select this more this around, you see that's not being taken out from the Cube like that, just push the stone on the updates. Life Creating something like this in cinema without the volume tools would be almost an impossible task. So thanks to the building tools, we can create some really smooth looking results like this. And it's not just this. I can actually keep adding more to this. For example, if I go and create something else, let's say a sphere, I can lift that up and then let's say you make it slightly smaller. I could not refuse the sphere with the rest of the shapes as well. So if I go atmosphere inside the same list here and then select the volume builder right away, you see that these are being fused. But this fear looks a little too rough. Still, that's because I've added this fear after I've created the SDF smooth, which means this fear goes on top of it, which means it doesn't get some ordered out. So I'm gonna push the SDF smooth above it again, and now that gets affected by it as well. I could not go to sphere. Subtract this as well, and now there's a dent there on the entire shape, and I can move this fear around as much as I like. I can make it bigger as well like that, and you can create some really interesting shapes of this. You can actually animate the size of this to create an animation where something starts completely invisible for the sphere, kind of beats everything away. And then, as this fear get smaller, that's what I'm changing the on the radius of the sphere everything is now being revealed because of sphere eventually would be nonexistence there. In the next lesson, we'll have a look at how to create something, and it's a more practical than some random shapes. 44. Generators - Volumetric Modelling Part 2: in this lesson, we'll have a look at how to create a slice or stressed trees by using the volumetric modelling tools. I'll start by creating a cube and I'll make the cube irritable right away so I can make the different polygons different sizes. So I'm gonna go click on this to make creditable off that switch to my public on mode here . So I can select individual polygons like that on that switch to my scale tool and then just scale this sideways and then I'll switch back to my model mold and then extend this backwards and that is gonna be the base for our cheese. I'm just going to rename this to be based, and then I'm gonna add the space inside a volume builder. I'm gonna go create a volume builder, drop the base inside of it. And right now this looks a bit too pixelated. So I'm gonna go to the voting builder and change my VOCs of size from 10 to, let's say three. And if you remember from the previous lesson, in order to see the result off this, you're gonna need to add the volume builder inside what's called the volume measure. So let me do that here, and that goes inside. And right now, this real render. So if I score, press command are that's going to give me a results. And now what I want to do is to add a couple of spheres in here to cut some holes out from this cheese slice. So I'm gonna go and atmosphere, and I'll make this fear a little smaller to start with. Now move it sideways towards us like that. And I'll add this fear inside the same volume builder here, and my default to objects are gonna be fused together. So I don't want that. I'm gonna go to my volume builder, change this fear from the union mode to the subtract mold. So this fear is not being subtracted from the cheese. Now, these segments that you're seeing are the segments off the sphere. So if you wanted to reduce this, you can go to the sphere, add more segments in here. So instead of 16 let's say I increased this to 50 so it doesn't look as bad. And then I'm gonna go and add a couple of more spheres in the same scene, and I'll random, the position them. So I'm gonna go make a little smaller, and I'm gonna come on, drag this towards here. Although the sphere gets created inside the volume builder, this is still set to If I select the volume builder, this is still set to union. I'm gonna need to subtract this as well like that. I can either do it one by one, like I just did here. Or I can keep adding little spheres and then group them together and then subtracted entire group from the base, which is what I'm gonna do next. So first, let me set these two union, and I'm gonna keep duplicating these fears again and again and again, and I will resize them and reposition them. I was gonna go make this one a little smaller, maybe push that there, and then I'll command drag this one up on. I'm just gonna keep duplicating these again and again, like I said, and then maybe make this one of the larger and then command, drag this one that way, and then maybe push this one out a little bit like that on. I'll just do it on this side for the time being, I'll just come on, drag this again and then push it that way on down and then resize. Well, then, do one work. So come on drug that way and then make it slightly bigger and then push this so that to the base in this sphere intersect like that. And now I have all these fears in this list. As you can see inside the volume builder list, I'm just kind of building this up Instead of setting every single one of these to be subtract, I can create a folder down here that you make a bit more space for this first. That way, and this goes down that way, I'm gonna create a folder and take these fears inside of that folder. So that goes in there that goes in there. Or you can select one and hold on shift and said at last one here and then dragged them in the folder as well. I can then collapse the folder and now treat this folder almost like a single object. So I cannot subtract the entire folder from the base. I cannot rename this folder to be holes like that. And now, if I want everything to be smoother than this. I'd go to my SDF smooth at this in, and that's gonna be added on top, off the holes object or the holes folder, which means everything underneath that, including the base and the spheres, are being smoothed out. If I think that this is a bit too much, which I do, I can click on the smooth object here and then come down to strength and just lower this down a little bit. Let's say there I don't quite like the way this works, So I'm gonna go to this individual sphere here, so that would be inside the holes. It's one of these fears. I'm gonna have to see which one. I think it's this one. I'll just push this out a little bit and then maybe bring it down se. Then I think it's better. I'm gonna add a couple more of these as well on the other side. So I'm gonna fly to the other side. I'll take these fears again. I can just command drive these fears that way. I was gonna keep come on, driving them around. I don't set them to be different sizes like that and I'll come and drag this one that way and then maybe pushed a stone again and then bring that closer to the actual shapes or the tool will touch like that. Maybe back a little. And then also like these three spheres with the shift key and then dragged them inside the same holds folder, and now they're being subtracted as well. And now I think this could do with a bit more smoothing. So I'm gonna select this SDF smooth and just increases a little bit like that's. And now, if I render this in now, have ourselves a model of the Swiss trees. I don't quite like the way the whole looks here, So I'm gonna go and find that sphere again. I think it's this one. I'll just pull this towards us a little bit, so we don't see through it like that's on. If you want to change the color off this, you can add a material to it. But for now, I'm going to keep this simple and then just go to my voting measure the basic display color on, and I'll just change this from white to something that looks a bit cheesy, like that may be. There you go. One last thing here is if you're seeing these lines like the subdivision lines, let me just go and turn this color back off, so it's easier to see them. These are the lines I'm talking about. Instead of playing around with the existing SDF filter or applying a new one, you can actually use a D Former called the Smoothing the Former. I'm sure how that works as well. I'm gonna go on ad. It's moving the former. I'm gonna collapse everything inside the volume measure here so we can treat this almost like a single object. And I can take the two objects here and add them inside the mall. On the shortcut for that is old G to group the two together inside a null you press Holt and G and inside the no. We had this morning the former on the volume measure which is being supported out. So this is without this morning. This is with this morning. So this controls the surface, and it's more than the SDF filter does. And it Smoothes out all those ugly looking lines. And now I'm gonna go to my volley measure and then enabled the color again to be yellow like that. So once again, this is before and this is after. And that's how easy it is to create organic looking, smooth shapes using the volumetric modelling tools. 45. Lights - Introduction to Lights: lighting is one of the most important topics in any three D application. Without a good understanding off lights in cinema 40 you're not going to be able to create anything that looks quite realistic, just like in real life. It takes a lot of time and practice to master delights. So let's have a look at the basics. Now let's go and create an object that we're going to light up so that say, that object is going to be a sphere. And I'm also going to create a floor so that we can see some shadows off that sphere on the floor on this is the floor object here. So I'm just gonna go and click on that. And right now, the two are intersecting, so I'm gonna go and move this fear up by exactly 100 units. So it's it's on the floor like that on our pullback outs on bring it down and then to create a light will go up here. That is, that the light bulb is and will click and hold it down. And we had different types of lights. We will first start with creating a normal light here. This light is also sometimes called an only light because it emits light in all directions . So it's an omni directional light, so I'm going to go and create one. And as soon as you create a lights, you see that the whole scene turns black. Let me explain why that's happened. I'm just going to delete this light again before you create any lights. There is already a light source in Cinema 40 and that's called the default light on. Without that light, you couldn't actually see anything. Now the default light is here, So if I go to the options menu at the top and come right down towards the bottom, that's his default light. I can click on this to activate it. I cannot move this other the way like that, and I can actually make this a little bigger. And now that the default light is going to be controlled by clicking anywhere on this sphere, So if I just go click and drag around, you see that the light itself in the scene is changing, and this is just like a modeling night, so it doesn't really let you control anything. Apart from the direction off the lights so you can't control the brightness off the lights . You can't control the color this like you're not casting a shadow. So if I go and render this, that's what you're gonna get. Yes, the shading on the sphere changes, but that's about it. You can't do anything else with this lights. And by the way, when you use the default light and you push it to one side, you might then end up with a line that goes like this. It's not actually going to appear exactly like what you see here, so this black line isn't going to appear exactly how it is now. So when I ran there you see on one side you'll actually see the shape. And on the other side, there's nothing. So this is a single light source used only for modelling purposes. By the way, if you like to reset this back to how it was initially, you can just simply right click on this and it reset the default light back to its default . Now, the reason why everything turned black as soon as you created this light object here is because as soon as you have an actual light source in the scene, such as this light object. The default light gets disabled. So if I now go and click and drag this default light around, you see, there's no difference in the scene whatsoever. So the default like, loses all of its effects as soon as you create a normal light in this scene. But why did they all turn black when it turned black? Because the light that you just created sits in the same place as the floor and this fear. So the sphere and the floor are blocking the lights. So let me now lift this light up on. Then you should start seeing the effects of the light like this. If I then pulled the light towards us a little bit, there we go. I can now go and get rid of my default lights. And then if I render this you see already, that light diminishes as it goes toward the horizon. And then he has an effect on the sphere that looks slightly different than what the default like gave you. So it cannot control the appearance of this like much better. On a lot more. Precisely. If you're using a light object as opposed to a default light. Next will get some of the settings. Before we move any further, Let me show you the difference between the floor on day normal plane. So if I select the floor and if I actually zoom outs now, the floor looks like a finite plane. So it looks just this big. And in fact, if I turn my light off, you might be able to see what I'm gonna do next. So if I turn this light off here on, if I changed my angle, it's a little too thin. But you might be able to see this white line here, which is called the Horizon. Now the floor will extend all the way up to that horizon when you render this. So if I go press command are instead of seeing a finite floor which ends here, you're gonna actually see the floor going old way out to the rise in line. That's how far the floor will reach instead of the floor if you actually creative planes. So if I go and delete the floor and then create a plane instead Now the plane is really finite. So if I go create this. The plane is just going to be as big as what you see here. So if I go Orender this, that's how big my plane is gonna be. I can, of course, make this bigger. So if I select the plane than get my scale tool, I could make this bigger. And if I render this, that's how big my plane's gonna be. But it's not by default going to extend until the horizon. So if you quickly want to create a floor that extends all the way out, it's better to actually use a floor object rather than the plane. And if I now turn the light on, you see instead of the horizon line, you'll start seeing a diminishing color off the floor. So gradually gradually gradually fades out as it reaches the horizon line because the light gradually loses power as the objects get further away from it. Now, in cinema four D, the lights will behave a little differently than they do in real life. First off, you may have noticed this that the lights do not cast any shadows. So when I render this in real life, if there was a light on the top left corner on. There was an object in the center here. There would be some sort of a shudder area here on the floor in cinema 40. That's not the default behavior off the lights. That's because creating shadows will take slightly longer to render on cinema. 40 tries to help you. My speeding up your render times on it does that by turning off the shadows by default. So if you want to create the shadows, you would need to go to the light itself. And then you have two options. You either go to general, which is where all the main controls off the lights are, and then you go down to shadow. Or you can go to the Shadow tab, which is designated just for the shadows. And then you go to the shadow option here. This option right says none is exactly the same as this option where it says none here. Of course, in the Shadow tab, there are a couple of other options, so it wants to turn the shadows on. You can change the appearance of those shadows from here, but if you just quickly want to turn shadow on or off. You don't need to go to the shadow tab. You can go to General Shadow and you change it from here. There are three different types of shadows you'll be working with. One is called the rate traced Hard shallow. If I turn this on and the rendered is, you see, the object will create a sharp, hard shadow on the floor. The other type of shuttle that you have is the shuttle maps soft. So if I render this, it's going to give you much better, more realistic results. So if I go and render this, it's almost instant, and you can actually see that the Shadow has some sort of a diffusion as it goes away from the object on. The last option is the area shadow. So if I go and turn area, should those on And if I render this again, this is the one that's going to take the longest surrender. But it's also the one that's going to look the most realistic. You may notice here that the diffusion of the Shadow is a lot more realistic than what you had with soft shadows. This, of course, comes with its own problems off especially the area shadow. You get this noisy area here, and that's something we'll have a look at in the following tutorials. 46. Lights - Three Point Light Setup: I'll now show you how a three point light set up works. Now, before we do anything, I'm going to go and change the colors off these objects. So I'm gonna go to my floor and maybe make the floor a white color or a really bright color . If I goto use color, say on on, I'll leave it there and I'll go to my extrude object on again. I've got a basic and then use color and sentenced to be on on. Let me give this a slightly different color this time. Maybe a bluish tint here and I'll make it slightly darker. And there you go. If I just got a render this, you see, this will look a little too a flat, and that's mainly because we don't have any lights or shadows in the scene. So I'm gonna press a to redraw this and let me show you now how the three point light set up works now. The three point night set up is something that's used quite often in photography and cinematography. On the three points. Refer to the three lights that you have on the lights that will be creating for this are gonna be what are called area lights for an area light is very similar to a soft box in a studio. So if I lift this up a little bit and then maybe pull the light towards us, we now get the rectangle or, in this case, by default, a square for the light on. If I just go and render this, you see that light shines in two directions, so the light goes towards there and it also goes towards back. That's why we had this black line here. So this black line is because the light doesn't shine. Let me just press a here. The black line was there because light doesn't shine up or down or sideways. It just shines towards the positive on the negatives, that direction. This is something you don't actually get in real life. So let's go and make this light. And it's a more realistic by telling it to shine Onley in one direction. And that's going to be the positives, that direction, and that's done by selecting the light and then down here in the detail stab, there's an option towards the bottom that says zed direction on Lee. If I go and turn it on. That's going to prevent the light from shining in the negatives, that direction. So if I now render this, there's not gonna be a single black line here. The backside is just gonna be fully black. So this resembles more off a real light than what we had before. So let me now zoom back out. And we you are talking about the three point light set up on for that. We'll use three lights on the 1st 1 is gonna be this and usually if I go to the front of you and if I do it all tastes so I can reframe all of those views and I'll zoom out from my front view a little bit. Usually the first light, the main light that you create is called the key light. So if I now go and rename this to be key lights, this is the main source of flight, and usually this is set at a 45 degree angle based on the front side off the object. Although you can change this. Usually the rule of thumb is that you set this light to be at a 45 degree angle from the front view. So here's how I can do this easily. I just go and move out on May be Go here are more disliked to decide. It's a bit on. Go to the key lights and I'll go to its coordinates and I'll go to It's heading now is our increased this? You see that it's rotating in the opposite direction, actually, So I want this to go to minus 45. I can just go and type in minus 45 year, so that's going to be used as our key lights. If I look at it from the top view, that's going to be the main light source. What about the other lights before we talk about them that's going to refine this light. So if I zoom in here so I can see the effect off that lights now, if I render this, this is already looking better. So we have some sort of a light direction coming in from the left hand side, but we don't have any shadows on the floor yet, so let's go to the General tab and I'm gonna go to the shuttle field and then change it from none to shadow maps soft and let me know show you the difference between shadow mass Soft on the area shadows If I render this with shadow maps soft, you sometimes get these weird art effects on the front side off the object name is women here to show you what I'm talking about. Precisely. If I run there again, get these weird shadows on the front side Now instead of shadow Mass soft if I change this to area shadows. And if I ran there again, this is going to take a little longer to render. But you're not gonna get any of those weird art effects if I zoom back into the same place you see, you don't have any of those funny artifacts on the front side anymore. So the shallow is more accurate. I'm gonna zoom back out and press hates so I can see the entire text also to make the text look a little more organic and reflect the light off a little better. I would normally go to the extrude object here and then come down to caps on. I would turn on the fillets cap for both the front and the backsides. So if I do start and end feeling Cap, this is a little bit too big now. So I'm gonna go and bring down the radius. Let's say 21 and then do the same for end as well. So I'm gonna bring the radius off that down to one as well on. I would want this to be slightly smoother because right now it looks more for bevel. If I now go and increases steps, let's say 24 under the same for the backside as well. For now, this may seem like a minor and unimportant change. But if I zoom back out and if I render this you now see these nice highlights that is women . These are a nice highlights you had because you made the object have Philip caps. So without the field caps, they were looking or straight on. Now, with the filler caps, you now have this nice contour, which is looking slightly brighter because of the key lights. So having some sort of for Philip cap on the object helps immensely zoom out a little bit again. The problem with having a single night sourcing the scene is that if I got the same scene from the other side, like here. These sides are all black. There's no definition. These are just black now. In order to avoid that, you would create the second light on that second night would be called the fill light because it would be filling in the dark parts that are caused by the main light. The key light on the field lights would also be on the front side. So let me press a and I'm gonna go to my four up you again and I'm gonna select my light. And I want to feel light to be on this side. Now if I want the object to move from left to right. Exactly. And I have already rotated the object. You see, the arrows are no longer pointing left, right, up and down. They're pointing left right up and down relative to the object. Now that's called the coordinate system. The coordinate system by default on the objects, are set to object. Coordinate systems. If I press w on the keyboard, you see that the coordinate system is now switched to what's called the World coordinate system. So that's W on the keyboard or its disc E at the top here as well. So either pressing W or clicking on this button here, you're changing the coordinate system to go from object to world. I cannot press command and then drag this light towards right. So I create a copy off that. Then I press are, and then I'm gonna rotate this on the screen, banned by 90 degrees. Exactly. And then this light, we will call this fill light, and usually you set the fill light intensity to be lower than the key light intensity on. Although there's no set rule for this, we usually set this to be about 1/3 off the intensity of the key light. So if I go to my key light and you can see under the general tab, the intensity is set to 100%. So if I now go to my feel light, I can drop the intensity off this down about 30 to 40%. So if I go, let's say 35 because the main purpose of this light is not to light up the entire scene. But that's more to fill dark parts of the scene that were caused by the key light. So if I not gonna render this you see those parts are no longer black, their darker, definitely darker. But they're not black. So we have some more definition on the right hand side off the objects and the final lights were you create is going to be called the backlight on. Let me do that again by going to my top view and I'll hold on command dragged the feel like back, and then I'll just pushed us towards left. And then I'll rotate this as well on the green access again, and I'll just let go somewhere here on to find that red light is pointing towards you can simply press E on the keyboard to get the move tool on them. Press W. To make sure that the arrows are showing the object cordon system and not the world corn system on, because we told at the beginning the light to shine just in the set direction. It's shining towards a sparrow, so that's correct. And I'll bring this light down into it. So if I go to my green arrow here, ah, spring light down and maybe I'll pull the light back a little bit and then, in my perspective, you just go and maximize this. I cannot see this in the perspective you that the backside is also lit up. Now the intensity of this light Let's go and call this light backlight. The intensity of the backlight can be whatever you like, really. But I usually set this to be slightly lower than the field lights. So if I go and bring this down a little bit, so it's obvious that this side is the darkest site. So it's the backside of the object, but it's not pure black. It's not pitch black when you render this, so you still have some sort of a definition you when if it's the backside off the object that you now go to the front side on the center, this on, I was eliminated a bit more on Here's our text with a simple three point light set up 47. Lights - Spot Lights: in this tutorial, I'll show you how the spotlights in cinema 40 work. We actually have a model of a spotlight. We're gonna use that as reference. So let's go. And first, like this spotlight up. So let me just go in, create an area like maybe, and I'll go to my four of you and I'll pull the light back and towards left Andan, I'll quickly rotate this on the heading like that on. Then I'll move it towards right by holding down the command key. So I create a copy off that. And then I rotate this towards the object as well Like that, and I'll move this further out on this one also. All move it further out and I'll also create a backlight. So I'm gonna go command, drag this towards there, and then we'll take this one towards the scene as well, and then lift that one up. And if you're confused about the direction off this blue arrow, that's because remember, you're now looking at the world coordinate system so you can quickly change that my pressing w on the keyboard and now I can be sure that this light is pointing towards a spotlight model here. Now I'm going to move my back lights up a little bit so it lights the object up from above on. I'm going to come out of this by middle clicking again on Then I'll make my back lights point down and it's time gonna press are and make that one point down. Now I'm gonna go and rename these lights and I'll show you a quick way off renaming them as well. So if I go select the last one, this is gonna be called back. Now, normally, in most other applications you press the tab key to jump to the name off the next object in cinema 40 You actually pressed it down or toe up Eros. So if I'm not press it down there Oh, that's going to be my feel lights And then the down arrow again to rename the last one, which is the key lights. Let's select all these lights now with shift key on, I'm going to go to the details tab and then scrolled way down and turn on Zed direction on Lee on. I'm also not going to go and set up the intensity of these lights so they feel like I'm gonna make that one. If I got the general, I'm gonna make that one about 30 to 40%. And then the back lights actually make this one also about 30%. Maybe a little more here on then the key light should remain at town, the percents, or finance women by rendered this That's what we should be getting now. I'm also going to turn on the shadows for all of the's song in a cynical of them, and then go to General Shadow and I'll change this from num toe area and then just a quick , random again. Now that's looking much better. So the new light type I wanted to show you here is called it the spotlight. So if I go click and hold it down here, it's the spotlight. As soon as you create the spotlight, you see, it will appear like this. So this one actually has a direction. Before I do anything else, I want to put the spotlight exactly in the same place as the spotlight model. So if I select this light, put this inside this studio spotlight, and then if I go to coordinates, so if I go and right click on the Y position and also the heading. And then my spotlight is facing exactly the same direction as the studio spotlight model. Just avoid confusion. Let me go to rename the now from studio Spotlight to model So we know which one is the light and which one's the model. Now The reason why I placed the light inside the model is because if I now move the model around or if I rotate this, the light will rotate with it. So if I go rotate this you see, my spotlight is actually rotating with the model I can come out now. The spotlight itself has some controls. So if I select the light and then go to my model mode here, I can control how wide the light is. So if I go and click on any of these yellow dots, I can increase the size or decrease that. As you can see, I'm gonna leave that somewhere there. And if I now is women, One thing I also want to do here is to go and delete the front side of this light. So if I go and select the model here I'm just gonna go and delete that. So there's an opening for my spotlight, and I'll pull the spotlight forward if I select the spotlight. I'll put this forward until I see the source in there. And I did this because I didn't want that polygon. I just deleted to block the light from coming out. Zoom out on the move here and now if I have another object here in front of this light. So if I let's say go and create a sphere, maybe, and if I places fear slightly higher up, So if I go move this fear to the right and higher up on, I'll also move it back somewhere here. Maybe so. This fear is in the same place as where the light is pointing. If I now go back to my perspective, you and if I zoom out, if I render this now now you'll see that the three area lights are lighting up my model and then the model, because it's got the spotlight inside, is lighting up this fear. In the next tutorial, I'll show you how the volumetric lights work so he can make this light visible or volumetric as it travels through the air 48. Lights - Visible and Volumetric Lights: In the previous tutorial, we looked at how the spotlights worked. Now, in a new scene, let's have a look at the volumetric and the visible lights, and then we can come back to the scene and apply what we've learned onto these objects. So let me first, where in creating you seen by pressing command and and I'm going to go and create a simple object like a cube again. And then I'm gonna go and create a spotlight again. So I'm gonna go click and hold it down and then create a spotlight, and then I'll move the spotlights back on. Then I'll zoom out so I can see what's happening here. I'll make this spotlight much. Why there like this on? I'll actually increase the reach off the spotlight like that now. Normally, when you have an object and a light, the object on the show's ready light hits the object. Let me first increase the height of the lights so I can light up the top part of this as well, and on rotates as well. Like so. And if I render this, you'll only see these two polygons. But what if you want to actually see delight itself. So instead of seeing just the effect off the light when the light hits the surface, you want to see the light as well from the source until the end off the reach here. So let me show you how that works. If you select the lights and then come down to general and then in general there's an option just under the shadow option. It says visible light and it's turned off by default. So let me just select this and then change it from none too visible. And if I render this, you'll notice as well as seeing these two polygons, you actually now start seeing the light itself. So if I not press A to redraw this and if you want to extend the reach off this visible light, that's done by clicking on this button here and then extend this old way towards here. And if I render this you mom, make that light much wider and the visible light starts from here and extends old way out Mark, if I press A to redraw this scene, you may have noticed that the light doesn't interact with the actual object, then just go to a side view like this. And if I render this again, you see that the light is just going through as if the cube doesn't exist. That's what happens with divisible lights. If you change the light from a visible light toe what's called a volumetric lights? The difference between the truth is that the volumetric light interacts with objects, and the visible light doesn't. If I now go around the this, you see that the object, the cube is going to start blocking the light so the light is interacting with the object. This is something we didn't get when we had the visible lights. Now there's one more option there if you noticed, and that was called inverse volumetric, and this one is going to create a result that isn't realistic, but it can be used for creative purposes. So it's not going to make everything that was dark, bright and everything that was bright, dark, if I know rendered this just in verses. The result there. Now let's switch back to our previous scene on. You can have a look at how to apply this to the spotlight recreated earlier, I'm gonna press the letter V on the keyboard. This is going to bring up this quick menu. And from here I can go to projects and there's select my previous scene unknown This scene , if I select my lights on before I do anything, they just do a quick render so we can see what's happening. You only see the results so you only see what the light hits the object. But if I select the light and then come down to visible light and if I change it from month to visible, and I can now extend the reach off this light again by doing this if I render this again, you see that divisible like starts from here and it goes all the way out. But you may also notice that the light is actually coming through these flaps as well. So if I go here, run there again. You see, the light isn't interacting with these flaps. So if I know, change this from visible toe volumetric and then render again. These flaps are going to be blocking the light. So why not go out and then zoom out a little more? And now the light is gonna be blocked by this on. Also, this fear is going to affect or block the light as well. So let's bring this fear a little closer. So I'm gonna select this fear and maybe make this a little smaller. And if I go to my four up view from the top view, I can just bring this fear here. I'm from the front. I'll just bring it down like that. And if I now go back to my perspective, you and then render again. You see that the light is not going to be blocked by this fear again. If I make this fear even smaller and then render again, you see how the light is being blocked by this fear. And if you want to, of course, extend the reach off this light, you can select it on. You can either use these yellow dots. You can click and drag this. This is almost like a full off area so that whatever is behind this yellow one is going to be fully visible on whatever's after this yellow line. Oreo dot is going to be fully invisible, and it's gradually going to go from visible two invisible. So if I want to extend this all the way out, so it's more gradual. I can just drag this towards right on that randomness again, and you see, the life goes all the way out on until about that point, it's fully visible on gradually. It diminishes. Now when I zoom in and then render From here, you may notice some strange looking artifacts like this, so it doesn't look perfect not to fix this. What you do is you go to the light and then you go down to the visibility tab. And in here there's an option. It says Sample distance and you lower this down. The lower the sample distance, the dancer, the resolution of the light will be, so the better the results will be. So if I know lower this down, that's a to five, and then render again. That's going to create a might smoother results. But this will take a little longer to Renta. So if I know increases back again, that's a this time to 50 just so you can see the difference between the high number and a low number. So if I said this to 50 and they render this, you see how ugly the shading area here works, whereas if I lowered its down to something like five that's going to create a much better results. You can also change the color off the lights if I go to my general tab again, and I cannot change the color by using hue, saturation and the value here. So if I now rendered this, I know you're a light that's more of a greenish yellowish color. So using volumetric lights, you can make your scenes look a little more dramatic. 49. Lights - Shadow Quality: in this scene, I have a three point light set up. But to make it easier, I turned off the backlight and they feel like so we only have a single light source, the key light. And if I render this, if I just press command are you see, the shadows are being cast, so I'm going to lower my key light to make those shadows a little bit longer. So I'm gonna select the key lights and then go to coordinates and they'll bring its why further down, Let's say about there. And if I render again, we should get longer shadows. Yeah, and I'm actually going to bring this towards us a little bit as well on the X so or something like that. Maybe so. Let me show you what I'm doing there from the top view. I just bring this closer to us and then maybe rotate this as well like that on, then lowered its down into more from the front of you on. Then if I ran this in the perspective, you I should not get longer shallows. Now, these are the areas that we're interested in now, so I'm gonna go and zoom into the shallow area here. We just got out a little bit like this. And if I ran there again, you can see that the shutter areas aren't great. So they're quite grainy. And let me show you now how to fix this by using the shuttle tab off the light so the shadows are cast from the key light. So let me go and select the key light first and then go to my shadow tab. Now, these options are the ones that control the appearance of the shadow. Now, let's start with density. Density is how dark this shadow area is. If I'm gonna render this, this is set to 100% density. So they're old black, so we don't see any detail on the floor. If I decrease this down to, let's say 50 and render again, they're not gonna be as dense. So you low density. By changing this value here, I'm gonna set this back to 100% on. The color is the color of the actual shuttle, so this is not gonna look realistic, but I'm sure you what this looks like. I go increase the value as well. And if I render this. Now, you see, the shutter area is gonna be green. I'm gonna set this to be black again and I hit OK on. If you want the shadows to take the color off the objects as they go through them And if these objects are transparent or if they have alpha channels, you can turn this transparency option on on. That's going to take the color off the object as well. So that's what this option is. And then down here, where we see accuracy minimum and the maximum samples, these three are the ones that are gonna control the quality off the shadow or the grain in this off the shadow area. So let me run this one more time so you can see the shadow area here, and you can see it's quite ugly and all grainy here. So let's see how we can fix this without getting too technical. Because this subject is quite a technical subject. I'll try to explain to you how these three options work. There are these things called samples, and these are required to create area shows. Now the more examples, the better the quality of the shadow area or the less grainy the shutter area on, the fewer the samples, the worst. The shadow areas are gonna look Now there's also this thing called accuracy on. The accuracy here controls how well these samples are distributed. Now, here's what I mean by all of these. The most critical areas which are the areas that are the most grain areas, are going to be controlled by the amount off the maximum samples. So the higher the maximum samples, the better the critical areas are gonna look. And then the less critical areas are going to be controlled by the amount off the minimum samples. You may be saying now, Well, why don't I just increase these numbers as high as they go on? Then just get on with our work now you can do that, and it is going to look better if you do that, but that's going to come at an expense off really long render times. So there's no point in increasing these numbers if you don't need them. The higher these numbers, the better. The results are gonna be generally. But the longer it will take to Rendah and accuracy is like I was saying how accurately the samples are distributed. So this is you can think of this almost like how accurate this is. If you compare to a real life shadow area, the hired accuracy again, the better the results. But the longer it takes to render on accuracy will show it's affected the most in the critical areas. So there are some steps you should follow in order to optimize the scene and create acceptable quality shuttles without having to compromise on the render times, you first need to find the area that's the most problematic or the most critical area in this case. I think I found area. So this is the most grain area in the scene. And then what we do is we changed accuracy to 50% to start with its preferred stock and 50 here. And then I changed the minimum samples and the maximum samples to be the same. So I'm gonna go and set both of these to be, let's say, 25 to start with, that's going to be quite low. But I'm gonna show you this anyway, and then I'm gonna do a render, and then I'll make my way up from that point So if I go and press command are this looks even worse on before I move on any further, I want to show you a different way off rendering. So using this way it will actually be able to compare what the different results look like . So, instead of pressing command, are if you press on the keyboard shift our that's called rendering to the picture viewer or it's up here as well. If you go and click on this button here, so the clapper board with little or enjoy collected back before I click and hold it down there, it says Renda, Toe picture viewer. If I click there instead of doing Orender to the current viewer in the view port, it doesn't render to the picture of your which means now if I go and close this and then if I increase these numbers, if I said the minimum samples and the maximum samples, let's say this time to be 75 on both. And again, if I press shift, our it ran. There's this again, and this time it keeps the previous copy up here so we can compare them so I can now see if I go and click on this. This is how it was before. Let me actually zoom in here. I can use the two key here again to zoom in. So this is what the shadow areas were like before, and this is what they're like now. So I have less grain. But that came at an expense off doubling the render time. So this 1st 1 took about three seconds to render, and the new one took about six seconds to rent. Let's continue to tweak the settings and see if we can get this to look perfect. I'm gonna press commanded w to close this and then I'll double these numbers again. So I'm just gonna go 1 50 on the minimum samples and mom 50 on the maximum samples, and I'm gonna go impress shift our again on this. You take a little longer to render, but it's gonna look much better. Hopefully. So as it's going now, I can see you know that this is taken. It tells me here about 10 seconds compared to the previous one, which was six seconds. But this one looks quite grainy them to go to a different part here. This one looks a bit grainy compared to the new one. So the neuron looks much smoother and bear in mind that this looks a little pixelated because I'm seeing this at almost 230% off the original size. So if I zoom in, it's more in the grain area. You can see that this was the first option, which was 25 by 25 on the minimum and the maximum samples. Then this one was 75 by 75 on this is 1 50 by 1 50 So this is looking much better, but you can see when the time is more than three times longer than what we had before. So once you set this up, once you are happy, let's say with the way the grain areas look here, we can then close this and then what you can do is to lower down the minimum samples to be 1/4 off the maximum samples so I can simply put a slash four at then off that and then press enter and Cinema four D will do the math for us. And if I now do Orender again to the picture of us, if I the shift. Our this should decrease the render times without compromising too much on the quality. Yes, it will look a little worse, but not as bad as you'd expect. So if I not go here, this was the one before. This is the one now, so it looks like this is a little more grainy on. Yes, in some parts it is. But again, that speeds up the render time. Almost going back to the second option here. But this definite looks better than the second option. If I click on the second option, you can see this is much more grain here than this one. But they were both about six seconds to complete surrender. So the trick there is to leave the accuracy set to 50% and then tweak these two numbers to be the same and move them up gradually until you're happy with the result. And then when you're happy, you then lower the minimum samples down to be about 1/4 off the maximum samples, and that should give you reasonably good looking sh Other areas with optimal render times 50. Materials - Intro: in this chapter, we will start talking about materials together with lights. Materials are perhaps one of the most important topics in cinema 40 when it comes to creating realistic looking scenes, and I wanted to show you the materials. Now, after we've learned about how the light work, because really, we can't talk about materials. If you don't know how the lights work on vice, a versa because, after all, imagine what a green apple would look like if the only light source you having the scene is red. So that's why you should think about the lights and the materials at the same time. When it comes to creating accurate looking materials, you should ask yourself a key question. What would this object look like if I took it in my hands and look at it up close? What would it feel like? What would it look like? Would it be a smooth object? Would it be a bumpy object? Would it be a little sticky? What color would it be? So these are the questions that you're going to ask yourself to determine the settings off the materials that you create and apply to the objects 51. Materials - Creating and Application: Now let's have a look at how to apply textures to objects in this scene. I have a couple of objects placed on top of a simple table. As you can see here on the table itself is placed on top of a floor as it is here. And then we also have a three point light set up. So we are key lights, and then the fill light and a backlight. So let me zoom back into the table. In order to create a material, you need to go to your material manager, which is down here on. All you need to do is the grand DoubleClick summer empty in this area on. As soon as you do that, cinema four D is gonna create a new material, and it will call it Matt. And ideally, you want to create one material per object. Unless, of course, the objects are supposed to look exactly the same as each other. In this case, actually, we're gonna make the fork the knife on the spoon to have exactly the same materials. So I'm gonna create one material that I can apply to all of them at the same time. But other than that. I'm gonna create one material per object. So we have our floor and I'm gonna go and call this material floor. And then I'm gonna create one more by double clicking here, and I call this one table Onda. I'll double click again. That's for the coffee cup on one more time for the cutlery and one last time for the wine glass. So, as you can see, creating materials is quite straightforward. Now applying them is also quite straightforward on you can do it in one of two ways. Let me zoom out first, let's say, for example, I want this floor material to be applied to the floor. One way of doing that is by selecting the floor material and literally dragging this from here on top off the floor here. Or if the floor is blocked from your current view, you can actually drop it on top off the floor here as well in objects. Manager on the true will do exactly the same thing. So as soon as I let go, you see the floor will take the color off the material, which is by default, going to be a bright grey. Let me apply the other materials to their corresponding objects. So let me zoom in here and I'm gonna apply the table material to the table and then the coffee cup material to the coffee cup on also all apply to its course through as well. And then the wine glass. I'll apply to the wine glass here. And if you want to apply one material to multiple objects like all these country objects, the best option there would be to select all those objects one by one and then group them together. So if I select them all with the shift key and then if I group them together, if I hold on hold and g to group them and I can call this no cutlery, I can then dragged this cutlery material on top of the mill and that will show that material on all the child objects. But remember, if you do this, you can't then make this spoon look different than the knife or the fork. So they'll all have to look exactly the same because we applied one material toe all three objects at the same time by applying it to their parents 52. Materials - Colour Channel: Once you create the material and you apply it to an object, you would then usually go into the material and edited to make the object look different. Let's have a look at how that works. Let's say in this case, initially, I want the floor to look different, so I'm gonna zoom out first. I can see the rest of the floor on. When I zoom out, I can actually see that the legs of the table aren't colored the same. So that must have been because when I dropped the material on top of the table top that must have just applied it to the tabletop because I didn't actually dropped the material onto the table. Now I dropped it literally onto the tabletop. So if I go select the material here and apply it, so let's say a leg that's going to apply it just to that leg and nothing else. That's what must have happened when I applied it to the tabletop, so that should be an easy fix. If I go to my table, I should be able to see the material here applied to the tabletop. All I need to do now is to select this and drag it to the top level. So it's apply to the mall, which is going to show on all the objects there inside the mouth, just like we did for the cutlery. I'm gonna go and collapse this so that's Tidier. And now that's a look at how it can change the color off the floor. It's going open up the floor material now when you go and click on the material once, it shows you the material on the right hand side in that reach manager with all of its settings. Now, although you can change all of them here, it's usually easier to double click on the material, which will open up. The material editor on This is gonna be the same window as the attributes manager here, but this is a designated we know just for materials, and it gives you more space. So it's easier to control the materials here because basically you have more screen real estate. Now, the way the material editor works, let me first move this to the site so we can see what's happening. The way the material editor works is that on the left hand side, you have these things called channels, so you have the color channel, the diffusion channel, the luminous channel transparency reflect its environment and focus channels. So these are all called channels, and on the right hand side you see the properties or the settings off the channel that you've selected. For example, if I go and click on the word reflect INTs, I now see the settings off the reflecting channel on the right inside, and the same applies to any of thes channels. So if I go and select that, say, the Alfa Channel, I now see the settings off the Alpha Channel. So you see the settings on the rights and actual channel names on the left. In order to work with the channel, you first need to go and activate it. And by default on every single material you creates, you're gonna have the color and the reflectors channel active. The Color Channel is what gives the material it's based color. That's why all these objects are white and the Reflecting channel is the one that gives the objects the fake three D look by default, and that look is created by using what's called the speculator. Let me show you what? I mean, if I go up to this wine glass on zoom in. If I select the wine glass material so I can see the settings off that and if I go and turn off the reflect INTs you see it will turn off the highlight on the left hand side on that highlight, as I mentioned, is called The Speculator. So that's what makes the object of three D. So that really helps with the three D look off the object when I had the reflectors turned on, which by default creates this speculator that's going to help a lot with the three D look often object. That's why, by default when you created material, you have the Color Channel as well as the Reflectors Channel turned on. Now let's have a look at how we can change these. Let me switch back to my floor material on, then let me move off so I can see the floor. If I click on the word color so I can see the settings off it on the right hand side, I can change the hue and the saturation and the value. Let's say, for example, I've like to have a light blue color for the floor. So I'm gonna go and selected blue From here on may be make this slightly more saturated and then maybe dial down the value a little bit. I'm gonna make a little less saturated on may be a little less than I go on I'm much increased the value That's a bit so it's a little brighter And there we go. So Mommy just made the floor blue on. If I ran there this you should be able to see this a little better. There we go. Now let's change the color off the other objects as well. So I'm gonna go to the table material and I'll select color. And for this, I'm gonna pick something that looks quite brown and dark. So I'm gonna go somewhere here on May be Bring this down about here and then make it slightly darker on. That's gonna be our table. But what if you want to apply a different texture to the object? What if you actually want this to look more like, would now if you want to apply an actual texture to it? That's what this texture tab is for. So if I go to read says texture, I can either click on the arrow to use one of these preset, pre built textures. Or if you had actual material that you want to use, you can click anywhere on this big bottom, which will then ask you to load the material. I don't have any materials prepared for this now, so I'm gonna go and use one of the preset ones. So I'm gonna go to Texture and I'll come down towards the surface is And from here are pick would. And once I had that would selected is just going to wrap that would around the object. And sometimes this look good. Sometimes you need to tweet this, but you won't get the final results until you do, Aranda. That's why I'm gonna press command are and see what this looks like on It's not too bad, actually. But if you wanted to change the way this looks, you would go to this thing now here called the Shader. The Wood Shader. So inside the channels, we had the textures and the textures work with shavers. So if I go and click on the word, would this will open up now. The settings off the wood shader I can either picket preset would shade there. So if I go to rent this type and change it from more nuts to, let's say, a Pinewood Shader, I can then go and tweet these settings as well. For example, I can go and make the scale a little smaller, and then I can increase the stretch, and then maybe I can increase or decrease the rings scale on all of this will show properly when you do a final render. So if I go, press command are again. You see, this is what that's going to look like now, instead of us pressing command are every time. Let me show you a short cut that's going to be very useful, especially when you work with materials and lights. If you do old, are that's going to bring up an area called the Interactive Randa Region. Now this region here is going to be constantly rendered, so you don't have to press command are every time. So, for example, if I go and change anything here, so if I go and set the scale to be, let's say, 10 as soon as I presenter, you see, this changes right away, and you may have noticed also that the quality off this let me just move up here a little bit. The quality off this is a little bit rubbish. Now, that's because this middle slider here, this tiny triangle is controlling the quality off the rendered area here. And I can click on this triangle and push this old way up on that's going to take a little longer to render. But the quality is going to be much better. And you can then re scale this or resize this area by clicking on one of the corners on doing this. And this is a great future, so you can check the quality or the materials off the objects or the areas that you want rather than the entire see. Now I'm gonna quickly set all of these back to their default, so I'm gonna go right click and then right click on the stretch and then right click on the rings scale as well on. I think that's looking not too bad, actually. Maybe I'll make this a little more wavy, so I'll just increase the wave amount to about maybe 90 or 100 so that's looking a little better for me on. Then I'll increase the scale of the wave as well, so that we may be said this to 75 as well. Most of the times you'll see when you work with materials, it's going to be trial and error. So you need to change over these properties to see what they'll look like and then come back if you don't like it and back off and then just keep changing that again and again and again. And one more thing to mention about this interactive render region. Although it looks good when you push this trying on old way up, it's not going to be as perfect as the final render. So if you look at the details here, the quality isn't great. So when I Press command are, that's going to make the interactive around the region look even better now. My table is a little too bright, so what I'll do now is I'll go to my color. I'll double click on that color, and I'll make this part a little darker and maybe a little more saturated. And then when I press OK on that should make the whole thing. Look, it's a doctor. Now that I'm looking at this, it's actually a little too dark. So I'm gonna go to my color again and open that up and then make this a little brighter with the value on a little more saturated, maybe, and then try it again on that's looking a little too yellow for me. So I'm gonna try it again, open that up on, make a little less yellow, maybe going towards left a little bit. And then I'll increase the value again on off decreases situation. And then let's try this on. Yes, I think that's looking pretty good now. Now that's for the table. So using the Color Channel, you can change the base color as well as setting textures to your objects. 53. Materials - Reflectance Channel: in this lesson, we will have a look at how to create reflective surfaces. Now let's say, for example, we want the floor to be a little bit reflective right now. When I render this you see there's no reflection on the floor. The only thing we have on the floor is the shadow on Let's say you want the floor to reflect objects. Now that's open up the floor material by double clicking on it and by default. Let me just move this out the way by default. You had the Reflecting channel turned on that because the speculator was placed inside the reflected channel. If you remember life, you selected afflicted channel. The way this works is that you have layers on the right. Inside, you see the layers set up, and underneath that it says layers. If I just click on this, I now see the settings off the layers only, and before that, I had both the layers and the default speculate selected so I can select them again with the shift key. That's why this was a long list. So I'm just gonna click on the layers, but in first, So all I'm saying are the layers. Now the way the reflectors works, like I said, is that you keep adding layers on top of each other to create a reflective and shiny surface. If you think about the material off a shiny car, this is quite similar to it. So in the car example, it first had the material off the metal. So that's gonna have one specific look on on top off that you'd apply some paint as your first coat and then secondly, you deploy some shiny material to make the car shine, so that would be the second coat and so on. It's quite similar to that in Cinema 40 you work with multiple layers in cinema 40 to create that shiny look that you're after, let's first go and have a look at how to add a layer. So on the delays, if I got to add, I can click there and here I have a couple of different options, and I'm gonna start with the 1st 1 Beckman and most of these 1st 4 options are gonna look very similar. Some are gonna be slightly more diffused than others, and some are gonna be slightly more rough than the others, but in general, they're gonna be very similar. You first apply off course, you can change the way they look by tweeting some of the settings. But by default, their appearances are gonna be very similar. So I'm gonna start with Beckmann. And as soon as you do that, you see now that floor has some trees on it. So that's basically telling you that the Reflection Channel has been activated. You're not necessarily going to see those trees when you render. It's just telling you that the reflection channel is turned on and there's a reflective surface on the floor. So if the trees are bothering you, you can actually go and turn them off. So if I go to options here and if I come down to rest his reflections, I can turn us off. So there's just going to make the floor black. And the reason why it's black now is because there's nothing else to reflect in the sea. And Manu Renda, Here's the result you're gonna get If I press command are you see, the floor turns into a perfect mirror. Let me actually move my camera up so I can see the base of the table in the reflection like that's. And if I render again, you can see now that the floor becomes a perfect mirror. The reason why this area is black, of course, because the bottom off the table isn't receiving any light. That's why I'm not seeing anything here. There's a function in cinema 40 called the Global Illumination on that will allow the light to bounce around so that it lights up the base of the table as well. And that's a topic that we'll talk about in the future chapters. Now what if you don't want the floor to be completely reflected? By the way, the reason why everything else appears to be black instead of a different color is because the floor is reflecting the entire scene and the entire scene is just made out of the table and objects that we have on top of the table. So imagine this scene is set up in space, where you have just a mirror and in front of the mirror. You have a couple of objects. All you'll see in the mirror will be those objects behind objects. It will just be black. That's exactly what's being simulated here by Cinema 40 as well. But what if you wanted to bring some of the blue color back? What if you don't on the floor to be entirely reflective but partially reflective? Well, that's when this option here, called brightness, comes to play whenever you see the word brightness that's going to be similar to the word strength in this case. And if I now go and dial this down, let's say, for example, I don't want this to be fully reflective, but maybe 50% reflective right away you will see that the color is coming back. So if I Nago and render this again, it's going to make the floor blue again. Plus, it's going to reflect everything on the amount of this can be controlled from this reflection brightness. The lower the number, the less reflected the floor will be. The higher the number, the more mirror like the floor will be. So that's something you can control by tweeting this left and right. One other option here is called roughness, and this is going to change the blurriness off the reflective surface. So if I increase this to about 15 20% maybe somewhere here. And if I render, you see that the floor is still going to be reflective. But it's going to be diffused, so it's going to be rough. So it's a Ziff. The reflection is getting blurrier and blurrier as it's going away from the source of reflection. If I decrease the roughness, that's a to 8% or 7%. And then if I ran, that is again. It's going to be rough, but not as rough. Roughness, by the way, is one of those settings that will have a big impact on the render times. So usually what I do is I said this to zero. And before I do the final render, I increase this if I want the surface to be rough. Otherwise, as I do these test renders, it unnecessarily slows the renders down 54. Materials - Reflectance Channel Quick Tip: When you're working with reflective materials and you have light in the same scene, there's one little check box that I'll show you, and hopefully you'll find this quite useful. That means you amount to show you what I'm talking about the song and zoom out here and you can see my floor is effective. So the lights are showing on the floor on when I have these lights, and if I render this, the lights will disappear. If the floor is not rough, however, if I go and change the material off the floor to make it a little more rough. So if I go select the floor and then go to reflect INTs and then on the right inside, if I increase the roughness. And if I close this and do another render you see now because the floor isn't quite smooth , it's showing up the lights on the floor Now. Sometimes this will be quite annoying, and there's one quick way to tell these lights to be invisible on the reflective surface, but still lead the reflective surface as a rough surface on. That is, if I select all these lights, if I select the backlight and then hold on shift and select the key lights. There's one option here under the general tab called Speculator. If I go turn this off, the lights will no longer show in reflective rough surfaces. 55. Materials - Transparency Channel: before you make the wine glass transparent. Let's have a look at how to make the cutlery reflect too, as well. So let me open up the country material on. I'm gonna move this out the way, and all I'm gonna do for this one is to go to the reflecting Channel. I'll add to it another Beckman. And right now they all turned black. And I now want to dial down the reflection brightness so they're not as effective. So maybe somewhere about there, and if I render this, that should give us a reflective surface. That's great. And I'm actually going to make this a little more rough as well. So if I go and increase the roughness off this material, maybe to about 20 to 25% and if I render this, the surface should be a little more rough. You can see that here, and I'm also going to make the color a little brighter if I go to color and go to the value increases welt about 90% and then render again. The color should be a little brighter as well. And then we can have a look at how to make the wine glass transparent? No, it's closed this on. Let's go to a slightly different angle like that and I'm gonna open up the material for the wine glass. It's here, and I'll move this out the way again. Now the transparency is controlled with this channel called Transparency. If I go and turn us on right away, the object will become invisible well, in this case, translucent. But when you render it, it's actually going to become invisible, except for speculator. If the lights were said to be on on the speculative channels, if you remember in one of the previous videos, we talked about how to make the lights not show on the reflective surfaces by turning this speculator option. So if I now go back and then enable them again on the lights. So if I go and select lights again with the shift key, I can then go to general turn the speculator off the lights on. If I now render this, you see that the lights will show both on the cutlery as well as the transparent glass, so that's looking much better already. But the problem with the glass is that it's completely see through In other words, the light doesn't bend as it's going through the glass. Now that function is called refraction, as opposed to reflection. So you need to change the refraction value in order to make the light bend as it goes through a transparent surface like this wine glass. So let's have a look at how that's done. If I select my wine glass, and if I increase the refraction inside the Transparency Channel here to be above one, let me just increases a little bit to be one point or one. I then move this out the way again. And if I rendered us again, you should see now that light bends as it goes through the glass. Now, if you increase this number, the light will band in one direction. If you decrease the number, it will ban in the exact opposite direction. So if I now go and decrease this a little bit that they go to point in line or so by then rendered us again, you see that objects that are inside the glass appear to be smaller, and in the previous example they appeared to be larger. There are some presets you can use So if you go to refraction presets and if you change it from custom toe one of these, you should be able to get quite close to the look that you're after. So if I make this a glass and if I then render it turns out that the refraction index off the glass is 1.517 on. These numbers are actually quite accurate, and you see now that this does look like proper glass and then depending on the shape that you created, so the thickness of the walls and actual shape of the glass will change how the refraction works as well. Now, if you don't want the object to be completely transparent, you can go to the brightness option and then dial this down. Let's say set this to about 90%. 85 to 90% by that rendered is again. It's not going to be as transparent as it was before, so it's still transparent but not as transparent. And you also see that the Transparency Channel takes quite some time to render on. One more thing to mention here is if I said the brightness all the way back up to 100%. And if I render again, you see that the glass will have no shadows at all. So if I now wait for the surrender, you see this area is a clean area, so we have no shadows on this area. That's because on the lights there was an option if you remember, called transparency and that's turned on so that something can turn off on the shadow tab off the light. Or you can make the object not as bright on the Transparency Channel. If I go and dial this down on, if I go and do another render, you see that area that was clean before. So this area here is going to start showing us those shadows again. As you can see here, if you want to add a tent off color to your glass, let me first go and make this a little brighter. So the transparency is stronger. You can go and change the color off the transparent area. For example, if you're gonna make this glass a bit more blue by increasing the hue and the saturation. And if I now rendered this, you see that the glass is going to have a blue tint. Now I exaggerated this. Let me just dial down the situation back to, let's say, maybe 10%. Maybe you will ness. Actually, let's say toe 67%. And then if I render again, it's going to have just a hint off blue. It's not going to make the entire glass blue. It's just going to have a hint off blue there. Before you wrap this tutorial up, I want to mention one more thing, and that is when you're working with reflective objects or refractive objects. The surrounding area is almost more important than the material itself. Imagine if you're in space and then you have a mirror. What do you see in that mirror? Or again? If you're in space and you have a glass, let's say a wine glass and there's nothing behind it. How do you see that wine glass? That's why the surrounding area is almost more important than the material itself together , of course, with the lights that have the speculator channels turned on. And just so you can visualize what I'm talking about, I'll do one more render from this angle so you can see and compare what the glass looked like before what it looks like now. 56. Materials - Bump and Displacement: in this tutorial, I want to show you two more channels in the materials. One is called Bump and the other one is called Displacement. Let me zoom into the coffee cup here on its center. This and then let's open up the material for the coffee cup on our move this out. The way the two channels I was referring to are the bump and the displacement channels. Now, on the surface, they do very similar things. But if you look carefully, they do something really different. Let me show you what they do. Both the bump and the displacement channels are used to create some imperfections on the surface off the object. Now the difference between the bump and displacement is that the bump simulates what the displacement channel actually does. So when you use a displacement channel, the object literally gets distorted and displaced. Where the bomb channel makes the object look as if it's been distorted or displaced. Now here's what I mean. Let me just go and turn on the Bump channel first and right away. Nothing happens. I'm then going to need to add a texture to it, to tell it how the bump with work. So let me click on this arrow. Let's apply the noise texture. This is going to create some random imperfections on the surface. So if I go and create the noise now, you may have noticed that there's somewhere deformation happening on the surface off the coffee cup and the Coster I'm just going to render it is to see what this actually looks like. And, yes, we get this weird shading to make this look a little better. I'm gonna go and open up my noise, Shader. And then I'm gonna come down here so I can tweet the noise and decrease the global scale so that these imperfections are much smaller. So let me say said this to 10% on if I render again, that's looking more like a ceramic or stone cup. Now I'm gonna make these even smaller. Let's maybe set this to 5% and render again. And you see, that's looking quite rough. And that's the key point there. It's looking rough. It's not really rough. It's looking rough. If I now zoom in and if I look at the edges here and when I renda, you see that the edges are still looking perfectly smooth. Only the surface off the edges as if you've got a wallpaper. Apply to this on the the surface looks rough but the actual object hasn't mean this place at all. Now this is when the displacement channel is used. When you want to actually this place, the object let me show you the difference between the two. Now let me go and turn off the bump and I'll turn on the displacement. And again I'm gonna go and add a texture to it. Let's say again, the noise texture I don't click on the noise Shader, and I'll drop the global scale again. Let's start with 10%. And if I render this you see now that the actual object is being displaced Now let me zoom back out so you can see what this looks like. And if I rendered us again, you see that actual cup is being this place. It doesn't look like it's being displaced. It actually is being this place. Now this now looks like a cup that you don't drink from. Let me now go and reduce the effect off the Displacement Channel. My clicking on the word displacement again, and then here, where it's a strength I can bring this down to, let's say, 15%. That's the strength off the displacement. So if I go and rendered us again, you see the surface looks rough. But it isn't as rough as it was before, because I dial down the strength. Now, if you want the displacement to look smoother, you need to have more programs on the object. But if you can't do that, let's say, for example, you've already made your object edit herbal on it, Say you don't want to use a subdivision surface what you can do, and this is only available in the studio bundle off. Cinema 40 is to use this option called Sub polygon Displacement. If I go and turns on and then render again, and what this is going to do is to take the available polygons we have on the object, and it's going to divide those polygons into even smaller particles. So it's got more programs to play with so it can displace more of those polygons. And then it's gonna create a much better and more interesting looking object like this. But it's an expense off longer render times. Right now, you can see that this is taking about 22 seconds to render. There is if I turned myself polygon displacements off. And if I render again, let's see how long this is going to take on. The cup itself is almost finished on. The rest is being rendered on. Now this is taking about nine seconds instead of 22 seconds. So just turning this sub particle displacement on more than doubled the render time. But of course, the results are looking much better. So it's a trade off. You need to keep in mind. 57. Animation - Intro: we've now come to the topic that I find the most exciting and interesting and that is animation. Animation is all about making things change over time, adding some personality to the objects which are otherwise quite dull and static. And in this chapter, I'll show you all the techniques that you need to know in order to create some cool looking animations using key frames. So get ready to be blown away by the exciting and extensive set of tools. Cinema 40 offers you when it comes to creating animations, so let's get started. 58. Animation - Keyframes: Position: in the foundation. Off most animations is a technique called key framing. Key framing refers to the change of some parameters over time. For example, here we have ourselves a bike on, let's say for the sake of argument, you'll like this bike to move from Merit is at the moment forward in that direction. Let's first find out what the direction is. Let me go and select the bike and I'm gonna press e on. I can see the X arrow here, so the bike needs to move towards the positive X direction. So if I not go and select the bike and then go to coordinates, you can only keep frame parameters if you're seeing a great out next to them. In this case, if you look at the coordinates, I can see a great up next to read his P X and another one next to it s P Y on them, P said. In this case, I'm only interested in p X. So the exposition. And then there's a great daughter, which means I can key frame this, which also means that can change the value over time. When it comes to key framing something there are six stages you'll follow, and I've actually included or six stages here as a note for you. So if I pick on this annotation, I can make this visible here by clicking on this showing Vieux Port on. Here are those stages we first go to the frame where we want animation to start from. Now, there's an exception to this. You can actually create the second key frame. First on that's called the Back Time the animation, which is something we will talk about in one of the future tutorials. But for now, let's go to the frame where we want animation to start. Let's say, for 15 frames I don't want anything to happen to my bike. So in my timeline, I move my played from here to frame 15. This is one way of doing this. You can just click and drag around, or if you want to be precise, we can just go n dial in 15 here. So if I just go and type in 15 that automatically moves my player to the 15th frame, and that was step one go to frame. So we went to the frame where we want the animation to start from. The second step is to set the value. The value that I'm referring to here is the value that you want to change over time. In this case, we already figured out that this was the ex property or the exposition off the bike. So if I go to the bikes X, let's say, for example, I would like this bite to start further back. So I'm gonna go to X on, Bring this down. Let's say somewhere here, maybe I'm just round the soft to minus 100. So I just said the value now the third step used to create the initial key frame again. Like I said, there's an exception to this so it can actually reverse the order. You can create the last key frame first and then go back and create the first key frame last. But that's something we'll talk about later on. So for now I'm going to go and create the first key frame. Now, how do you create the key frame? If you see these great dots when you move your cursor over them, the great ultra light up. If I now go and click on that, that will actually turn red, meaning that I just recorded the position off this bike at this given frame frame. 50. The fact that this cradle is no longer gray and it's red means that the value has been recorded. The fourth step is to change the frame, so it starts from frame 15. Yes, but how long do I want this to go on for? Let's say I would like this to go on for another 45 frames, so I'm going to move forward by 45 frames. That makes in total 60 frames and then we change the value. So where do you want the bike to end up on frame 60. So I'm gonna go to my ex and let's say I just click and drag this up to about there. It is around this one off as well that we just had this to maybe 200. So I just change the value now, which was the fifth step on. The final step is to create the second key frame, which is again done by clicking on this grey dot, which is now yellow, meaning that it's not the same value as you recorded it. So If I now go and click on this yellow dot, that's going to turn red again, and that is going to create us the second key frame. And that's the very basics off, creating a simple key frame animation. If I now go back and play this on to rewind back, I use this bottom or shift F on the keyboard. That's going to rewind the play head all the way back to the beginning. And if I now go and click on this play bottom, which is F eight on the keyboard, that's going to wait until the 15th frame and on the 15th frame is going to start moving. And then after the 15th frame until frame 60 it's gonna continue to move from minus 102 plus 200 then it will just pose there after the 60th frame and it will wait. So if I now go and play it, here's what you'll get. At any point, you can just go impose this on, then press shift death to rewind back to the beginning. So if you follow these six steps we just talked about in that specific order, you would be sure to create an animation with just two key frames 59. Animation - Refining Keyframes: in the previous lesson, we looked at how to create these key frames, and as soon as you create a key frame by clicking on this grey dot you see a blue rectangle on the frame number here. So that's your first key frame, and that's the 2nd 1 Now if I want the exact same animation, but if I wanted to take not as long. So if I give it less time to complete the same move, I can just click that and then literally drag it towards left eye. Now gave it 15 frames to complete animation, so the animation itself stays the same in terms of better bike starts and merit finishes. But the fact that I gave it less time means that the bike would need to travel faster to get to the same spot it was getting before, but this time over 15 frames rather than 45 frames. So if I'm not going play this again, nothing's going to happen for the 1st 15 frames and then the bike will start moving for another 15 frames on. Then it will stop on frame 30. So here's how that will look. As you can see here, the animation is much faster than it was before. Similarly, if you want to slow down animation, all you need to do is to separate the key frames away from each other. So if I take this key frame on, drag this towards right again, the starting point and the ending point there exactly the same because I'm now giving it more time. So if I preview this, you'll see that animation happens much slower. If I play it, you see, it's might slower. Now, If you want to change the overall duration off your timeline, you can easily do it from here. So if I go here on, let's say, for example, I would like us to be exactly 150 frames long. As soon as I do that, this scroll bar will shrink. So this is called the Preview Area. So right now it's just going to preview the 1st 90 frames. But if I go and extend this by clicking on this arrow and then dragging this towards right , I now you'll be able to preview all of the 150 frames. If I now go and play it, it shows me all of the one on the nephew. Two frames, in fact, shows me in total under that 51 frames, including the 1st 1 which is labeled frame zero. So in total, this length is 151 which means now I can make this even slower. So if I select this key frame and then drags us further right, the same animation is going to happen. But because we gave it more time now, it's going to be much slower. So if I go and play it, you see now he's going to be much slower than it was before. Another way to change the overall duration of your timeline as well as your frame rate, is by going to your project settings, which is controlled the or command D on the Mac on in here. There's an option under the project settings, it says FPs frames per second, and this is your frame rate now, depending on where you work, whether you're in the states or in the UK or the rest of Europe, you'll find yourself changing this on for most of Europe used 25 frames a second on in states. They use 30 frames a second So I'm gonna set this to 25 and you see that this will update the overall duration of my time. Mind as well. So I had under 50 frames before, when I reduced the frames per second for 25. The overall duration reduced down to under 25 as well. So I can now go and tweak the timeline key frames again. So that's on the 90th frame on that. Say, we said this one to be on the 10th frame, so the animation happens over 80 frames. If you want to change the actual value off the key frame, for example, you would like the bike not to go from there to here, but maybe further out, or maybe slightly in what you would need to do would be to select the bike again and then go to coordinates and then you would jump onto these key frames with the play head on. One of the easier ways of doing this is by dragging the play head on. As you do this, if you hold down, the shift key you see will snap between key frames. So if I hold on shift and then drag this towards right. It will snap there or here. So, you see, this just snaps between the key frames. So I'm going to go to the 10th frame. Let's say, for example, I would like this one to start from zero. So I'm gonna go and zero this out, and as soon as you do that, the bottom here will turn yellow. And if it's yellow, this means that the value has been updated. So I'm going to go and click on this again. And then we have updated the value one more time. So it's red now, which means that the value is now zero and it has been recorded. And then I'm going to go forward to frame 90 by holding the shift and clicking on this. And I would like this one to move from the starting point all the way up to here. But I would be quite precise with this now to figure out how much they should move. I'm going to work out the diameter off the whales. So let's do that quickly. If I go to my four up view on that, we may be disabled. My not as well here, so it doesn't get in the way I'm going to go select it. I'll uncheck showing reports just very quickly. I'm gonna go in credit cylinder on in here, are changed the rotation of the season there, or I can just go to object and then change its orientation to be on the set access. And now let me just pent up on them place to still in there somewhere here, and I'll bring the radius of this down. That's a to about there if I zoom in. So that's the radius of the sit in there, more or less correct so that more or less fits inside the wheel. On. If the radius is 30 then the diameter is two times the radius. So it's 60 and based on that, we'll work out the circumference because eventually that's how far the bike remove. Once the wheel makes a full rotation and circumference is diameter times pi. So if the diameter was 60 I can just quickly do it here. Actually, if I just go and type in here 60 times and you'll take pi as 3.14 so the circumference works out to be 188.4, so I'm going to go and select this. Copy this value and I'm done with this. Sit in that now So I can school, press and delete this all that select my bike and I'll go to coordinates instead of 200. I'm going to go and paste that. So that was one of 8.4, making sure that I'm on this key frame still, so that would be updating the key frame rather than creating a new one. And then I'll just go and update this and that one overwrites the key frame so that a new value is 188.4. So by the time it goes from the first point to the last point, the bike will have moved by 188.4 units. I'm going to go and maximize my perspective. You now on, let me just put up a little bit. And in the next tutorial, I'll show you how to animate the rotation off the pedals and the tires 60. Animation - Rotation Part 1: In the previous tutorial, we looked at how to animate the position of this bike, and in this one will have a look at how to animate the rotation off the pedals and the tires to match the animation recreated earlier name is room into the pedals, first on by the time the bike reaches its final destination. So if I now go and select the bike and maybe rewind and if I play it so it starts animating , as you can see here on the 10th frame and it continues to do so until frame 90. So if I go and play this, you see this. So now we want the pedals to complete a one full rotation by the time they go from frame 10 to frame 90. So let's see how this thumb let me go to my bike on. Open that up so I can see the pedals and all here on this is the one I'm going to need to animate, so it's the pedals pitch on again. We need to follow those six steps we followed earlier to create an animation, but this time those steps will be applied to the rotation instead of the position. Let's remind ourselves what those six steps were. So I'm gonna go and open this note up, and I'll make this visible interview ports on the MSM art a little bit. There's my notes, so it tells us initially to go to the frame. This time it's the frame again where we want the rotation animation to start. So that's going to be on frame 10 as well. So I'm going to move my play head to frame 10 on all set the value. Let me not go in and see what the value is, actually. So how do you want these pedals to appear initially before you start animation? Let's say I don't want the pedals to be like this. I'm gonna go and select the pedals. I want the pitch to be about there. So we just set the value. Now on, we're gonna create the first key frame this time for rotations Page. So I'm gonna go and key frame the pitch, and then you will change the frame. So how long do I want this animation to go on for? If you remember, the animation off the bikes position was happening over 80 frames So it was starting from frame 10 and it was going on all the way until frame 90. That's what I'm gonna do here as well. I'll go to frame 90. So we just changed the frame Now on, we're gonna go and change the value as well. So let me see the pedals again. If you zoom out here, it's a bit. So I'm gonna change the value. So what do I want the pitch to be at this stage? So let's say I would like the pitch to do it one full rotation off 3 60 So for that, I'm gonna go and adding to the end off that plus 3 60 and that will work out the math for us. And then the final step, if you remember, was to create the second key frame. And that's done by clicking on this button again, and that will record it value again. So we should now have the pedals doing a one full rotation. By the time the bike goes from the point A to point B, Let's see if that's working. Call it MSM out, and I'm gonna rewind and let me hide my not as well I'll just hide it here. The things women here on. There we go. I'm gonna go and play it. Oh, and I noticed this is actually going backwards. So the pedals are rotating backwards. That's an easy fix. So I'm going to go impose this and I'll jump back to the 19th frame and then I'll go to my pedals again and then go to the pitch on our grand type in minus 3 60 This takes it back to how it was initially, and then I'll put another minus 3 60 so that takes it back. And then, if I keep things again, that should be rotating in the right direction. If I played now, yeah, that's what I think. One full rotation on that's working fine. The reason why we were having the issue with the rotation off the pedals was because when I was increasing the pitch off the pedals, they were rotating counter clockwise and I wanted them to rotate clockwise. So what I did was to subtract 3 60 which was basically undoing the mistake I made initially and then that took the state off the pitch back to its default and then to tell the pedals to rotate in the opposite direction. I subtracted another 360 degrees from them on. That gave us the correct value with Dan went ahead and key friend it. 61. Animation Rotation Part 2: The last thing we will do to this bike is to animate the tires so that it matches the animation that we created earlier. So for that I'm going to animate both the tires at the same time on as well as actual tires . I actually want to animate the wheels, all the contents as well, so I'm going to go and select both of these. If I wants to animate this, let's say, for example, if I was to change the rotation off both of these tires order wheels at the same time, I would get the rotate tool that are on the keyboard. But if I rotate this, it's going to put an axis the one that I'm rotating from in the middle off those two objects or off those two miles, and it will rotate them like this. So this isn't what we're after, so I'm gonna go, Press Command said. There's a really useful function in the rotate tool as well as the move tool. If I select the tool here and if I goto object access in that tribute manager, there's an option here that says per object. Manya, play shin. If I turn this on. And if I now rotate this, using the same access this time is going to work on objects rather than working at backwards is going to work on the objects. So now that we know how that works, I can go and select these two again on on the frame. 10. A key frame the banking. That's the banking, just to be sure. When change this, you can see the banking is the one that's changing only. So I go and key frame the banking on both of those and then I'll go to frame 90 and then I'll change the banking to minus 3 60 and a key. Frame it again. I'm and I go back and play it. Let me go back here. And if I play it for 10 frames, nothing should happen. Then at the 10th frame, the animation should start, and they should all be in sync. Great, that's looking perfect. 62. Animation - Light: Now that we know how to animate some basic properties such as position and notation, let's have a look at animating lights now. I went ahead and created this simple model for the light off the bike on. What I'm gonna do now is to create a spotlight. So this is just an empty model here. There's no light inside of this. I'm gonna go and create a spotlight, and I'll place the spotlight exactly by that light is so let me go to my four up view. And if I zoom out from all of these, there you go on my spotlight, you can see is sitting right on the floor there, underneath the bike. So the best way to put the spotlight in the same place as my light object is to go to my bike here and then I'll select the spotlight and I'll put my light object inside the spotlight. And then all I had to do is to zero out all these coordinates. So if I go and right click on each one of these, so the position is now zero doubts. I'll leave this scale as it is because I don't want to mess that up. I'm not going to go to the rotation and then zero heading and only the pitch as it is. So it's facing in the right direction. Let me know the minute of it so I can see what's happening here. So that's looking right. And maybe from the top view, I can pull this for a little bit. Not to might. Just a tiny bit there and in the perspective, you I can finalize this. I can just place this here and goes just there where the light starts. And I was with my belt and there you go and I'm going, going to go to my light. I'll actually leave the light inside the spotlight. Object here so that when the bike moves, the light, which is the spotlight, is going to move with the bike on the light object which is inside this light, which is inside the bike, is going to move together with the rest of the set, so I'll leave everything as it is now on. Then I'm going to go and animate just the intensity, maybe, and then the visibility. So if I go to my lights just so that we can see what's happening here. I'm going to turn off all of my other lights. So let me go to my scene object here. And I've got three lights that I'm gonna turn off. So I now have no light in here just for now. I'm going to select this light and then go to its intensity and I'll set this on frame 10 to be zero. So I'm gonna set this 20 Then I'll go to frame 10 key fame that on go to frame, let's say 40. So just back one frame and then I'll increase the intensity back 200%. And then I'll keep doing that as well. I'll also make this light visible. Or in this case, actually, I want this to be volumetric so that the front light is blocked. My delight object. So I'm going to go to a volumetric on if I render this just very quickly to the quick test rendah these women here If I do a quick render here just to see that it's working on it, see if the lights working, it's not working, actually. So this must mean that the light is actually behind some polygon CIA So let's just go and double check that that isn't the case for it. And go to my top. You I'm going to zoom in, and it's quite difficult to see what's happening from this view so that we may be Go back to my front view and I'll zoom into here and you can see that in need. My light is behind these publicans, so I'm gonna pull the light forward a little bit like so. And if I know, render this perspective, you, If I select my perspective, you and then render this. That should give us the visible light. And there we have it off course. The scene is quite dark now because I turned all of the other lights off that Managua and turn these lights back on. We're just gonna turn all of these on and then maximize this view and notifies amount somewhere here Maybe on I can do a quick test run there to see what the final result looks like. And now that the framers be rendered, you can see that my spotlight is working perfectly. I can see this volumetric light as well as the other three light I created on then the fact that I created this spotlight inside off this object and this object is inside off the bike object or the bike. Mel, when the bike animates, the spotlight will travel with the bike. So if I go back and play this once more for you, you see that this sport like itself is going to play back with the bike, certifies amounts on. If I play this back now for you, you should see that the spotlight is traveling together with the bike at the same rate. There we go. That's looking perfect. 63. Animation - Timeline Dope Sheet: We have already talked about animating different properties off different objects, like we talked about animating the bikes position as well as the rotation off the pedals and the tires. But what if you want to animate the position and the rotation off one object at the same time? There are a couple of things you need to keep in mind. When you're doing that, Let me show you how that works. So let me go to the bike object the null on. I can see already that I have two key frames, one on frame, 10 and one on frame 90. And these two key frames represents the position off the bikes now. So if I just scrub through, you can see that the bike is just moving. And what if you want to animate the rotation of the bike as it moves? Let's have a look at how that's done. Let's say, for example, starting from about frame 30. I'm going to animate the heading off the bike, so let me just go to frame 30 again. We're gonna follow these steps. Let me just make the notes here visible again. So here are my notes, so we'll go to frame first. That's when we want the animation to start. So I'm already there on the 30th frame and then we'll set the value. So in this case, we're talking about the heading off the bike. So the heading right now is set to zero, and I want heading to start at zero. So the value is already set. I'm gonna create a key frame so they just go and key framed heading. And then we change the frame. So let me now go and set this to frame 90. So the rotation happens over 60 frames from 30 to 90 and then we change the value. Let's say, for example, heading, I'll change it to be about their let's, say, about 50 degrees or so. And then finally, we create the second key frame by clicking on the same dot that we clicked earlier. So I'm gonna go and click here, and that recorded the value as well. And if I now go and play this back to school and play it on on the 30th frame, the bike will start rotating on the heading. On on the 19th frame, the bike was stop rotating, so let me play this back. There we go. But there's something funny happening here. I created four key frames in total, but I can see only three in the timeline. I had two key frames for position and two key frames for rotation. But in the timeline, I only see three key frames. That's because the last key frames off both the position on the rotation are on the same frame frame 90. So this key frame here shows us the two key frames at the same time. Which means if I go and move this towards left, it moves both the position and the rotation key framed at the same time. Which means this will be faster, both on position and rotation. So let me play back. You see, the last part is gonna be much faster now, off course, the pedals and the tires don't stop because I didn't move their key frames. So if I now go into the bike, I can select my pedals and I can bring this key frame closer as well. I can click and drag this towards here. I think it was on 59 I can do the same for the wheels as well. So if I click here, I can bring this to frame 59. If this happens when you drag, that's the highlights. Multiple key frames at the same time. So I did this by mistake. So I'm going to go and click outside on one of these vertical bars so that will disappear. I'm gonna go and make sure I click on actual key frames. I can drag this towards left to frame 59. And then finally, the front real as well are click and drag this also to frame 59 there. And you see, by the time the bike stops moving, the pedals and the wheels or the tires will also stop moving. Now I'm going back to my bike. If I select the bike on get me, pose the animation first on that, I'm going to get it off my note here as well. So, as I mentioned earlier, the last key frame on the bike, the one on frame 59 represents both the position and the rotation values. So how do we separate them? Or more importantly, how do you see the key frames for all of these properties at the same time. So how do you see the key frames for the bike or the wheel or the petals at the same time? Now that's possible by using what's called the timeline. So if you go out to do in no menu at the top and there's an option here toe open up. The timeline on you had the time line with the Dope sheets option, or he had the timeline with the F curve option. The dope shit is going to be a larger version off the timeline here and the F curve on F stands for function. So it's the function curve that's going to show us the speed and the velocity off the key frames represented in a graph form. So I will spend an entire tutorial on that one later on. But for now, let's go and turn on the Timeline dope sheet, which is Shift F three. It's a useful shortcut to remember shifted three. When I click on this, the timeline will pop up. Now in the time mind I see the bike, which is the only thing that's been animated on inside the bike. I should see position and the rotation as well as the light because we've animated the intensity of the light if you remember, and I also see the pedals on the back wheel on the front wheel. So the timeline is a much more detailed view off the minute timeline that you get here, and you get to control pretty much all those key frames at the same time. So, for example, if I want the bike to stop moving on, then continue to rotate. I can simply let me just move this out the way so you can see what's happening here I can go to position on. These are the key frames that represent position, and these are the rotation key frames. I can simply drag the rotation key frames either by clicking on one of these because they're highlighted. I can click on anywhere on this highlighted bar at the top as well. I can drag them towards right. Let's say here so that this means now that the position we'll finish round about here on frame 59 the rotation will start around about here, which is framed 46. But it will continue until frame 75. So have a look. The bike itself will continue to rotate until frame 75. So if I go and click anywhere here and while you're in this view, if you tap space bar that's going to the playback and you see the bike continues to rotate even after it stops moving on the position here ago, our press space bar again to pose it, and the timeline here makes it really easy to line up the key frames, as well as staggering them or stacking them up on. I can do that really easily by selecting these key frames, dragging them towards left so they're lined up and I'll do this for every single key frame are select. This may be dragged us towards right, and then I'll select these key frames, drag them towards right on. Then they regard. If I now play this, everything will happen at the same time, which means I won't have to go into the Objects manager and select every single one of these objects one by one to reveal their key frames and then to tweak them. So this is a much more streamlined version off the minute timeline, and it makes life much easier when it comes to lining key frames up or precisely timing them on the timeline 64. Animation - Bouncing Ball: in this tutorial will have a look at creating a bouncing ball, which is a classic animation example. So for that, I created a staircase made other cubes, and I'm also gonna create a sphere and our motives fear up to the top here. So for that, let me go to my four up view that in middle Click and I'm gonna press all takes so I can reframe all of those views at the same time. And I'm gonna use my front view as my main view here. So I'm gonna move this up and I'm or that sphere on top off the top level stare. So I'm gonna go here on may be started from slightly higher up. Let's see here on what I'm gonna do now is to set my frame rate to be 25 frames a second. So that's command D to bring up my project settings, and I can change my frame rate to be 25. That's the frame rate we worked with in the United Kingdom. So I said that 3 25 and I'll change my maximum time to be under than 25. So that's essentially five seconds long and if I know I'm going extended the preview area that will cover the entire timely. Now, the important thing here is that you go and do this thing called blocking first during the blocking process. You don't really care about what's happening to the object in between the key frames. So let me show you what I mean. So let's say, for example, I want the ball to start from here and I'm gonna go in, select this fear on I want to key frame all three coordinates at the same time. So I'm gonna keep from X why and said at the same time. Now I want to be animating Zed, but I'll keep famous anyway than later on archery. How to delete them on in order to do that instead of key framing these one by one, I can actually come down here, and there's a button that says Record position, Scale Rotation and P. L. A, which stands for point level animation off the selected objects. Now, basically, if I go and click on this button, this will create nine key frames and you see three for position 34 scale 34 rotation and I'm not gonna animate the rotation or to scale at this stage. So I don't need all those extra key frames. And it's good practise not to create these key frames unless you're gonna need them. And in this case, we won't need them at this stage. So I'm gonna press command said, and I'll tell it to turn off the rotation and then this scale and then this p here stands for parameter things like the parameters off the objects. I'm not gonna record any of those either. I'm gonna go turn it off. If I now wear click on this button, which is F nine on the keyboard, it's going to record everything that I activated in this list. So here we have the position than this scale and then rotation and then the parameter and then the point level animation. This is for animating things like the individual points inside an object. Now I only have the position selected. So when I go and click on this or press F nine on the keyboard, that's going to create three key frames for position. One for X one for why? And one for set that's on frame zero. Let's add once forward by 15 frames. So I'm gonna go to frame 15 and then in the front view. I'll just click anywhere. As long as this fear selected, I'll click anywhere and then drag this fear down and I'll zoom in so I can see what's happening to the base of this on. I'll move it somewhere about here. I'm not being too fussy about the exact contact point, so I'm gonna go zoom out again, and then I need to record the position here again. So I'm gonna go and click on this button or F nine, and then I go to frame 30. And then I moved down into bit normal. This fear here and again I'll zoom in round about. There is fine and all's amount. Then I'll press F nine or this button again to record the position, and then I go back out onto another step and then go to frame 45 on. Then I moved here and then key frame again and go to frame 60 so you can see I'm advancing by 15 frames every time. By the way, if you want to advance back and forth by one frame at a time on the keyboard. You can use the letters G or F so F goes back by one frame and the letter G goes forward by one frame. So I'm on frame 60. Now. Don't come down here and bring it down and then I'll keep things again. And then I'll go to frame 75 down here and then move it down and then key frame again. Andi, finally, I'll go to frame That's a 100 this time because that's going to jump a greater jump. So I'm gonna increased overall time as well. And then just go and drag this summer here on, then key frame. It's now by the time you finish this, what you should get in the front view if I preview this is that the ball is going to start moving through the stairs. Look, if I press hate so I can see everything, and if I play it, here's what you gets. So not very exciting, but you see what this does in a second. So if I preview this in the perspective, you as well you said that this looks quite strange, so the ball is going through the stairs like this. But like I said during the blocking stage, you don't really care about what's happening to the ball or any object while you're doing the blocking in between the key frames, that's something you set next. So for that, I'm going to go and open up my timeline. And this time I'll be using not the dog sheet, the one that I used earlier. I'm going to use the timeline f curve their function curve, and this will give us the individual graphs or the functions for the key frames that are created on the position property off the sphere. Let me first go and make this time on a little larger so I have more space to work with. Maybe I could make it larger towards here as well. And in fact, what I can do is to switch my layout from start up to animate, and that's going to put the timeline right at the bottom. And then it's going to put my attribute manager on the right on my objects manager on the left. Now, in the timeline, you see that EFC your manager has disappeared to bring it back. You go either here to click on the F Kermode here, or you can go to Reno again and open up your F curve. But this is going to open that up on a separate panel, which would then need to dock somewhere by clicking on these buttons. And you can just click and doctors around. Let's say, here and now I can see the key frames at the bottom as well as seeing the F curve manager at the top. No, I don't need this version here, so I'm going to go and right click on the key frame version dope sheet version, and then I'll go and close this and I'll do the same for the remaining panels as well. So I'm going closed. Their takes on finally all going close the layers as well. So right now all I have is my f care of manager at the bottom Here. Now, on the F curve Manager. I can also press the letter Hey h so that this reframes the entire graft to fit in the view . And the only thing that we're interested in right now is the Weicker. So that's going to control the height off the ball because eventually we want the ball to start bouncing around. So instead of saying all three at the same time, I'm gonna go to my sphere. You see, I have position X why? And said and they're all highlighted. That's why I see the graphs for every single one. But if I click on position, why only that's gonna show me just the position y graph. And if I now press hate, that's going to center dis in my view Now let me go to my front view instead of the perspective. You. So I'm gonna come up here and then go to cameras and then change this two front and I'm then gonna press the letter hatred. I can see the whole thing. And what I really want this to do now is if I go back to the beginning, I want this fear to fall down. But instead of going through, I want this to bounce back and down again and then back and then down again. So it kind of bounces officer kind of hit the step that increases its height and then decrease again and then increase and decrease and so on and so forth. Now to do that, we tweak the graph that we see down at the bottom. Right now, all the key frames are selected. You can see these are the key frames. So I'm going to go and click somewhere empty in here so that the select all the key frames . And now if I go and select the second key frame, I now have these two handles similar to the busier and those that you're familiar with. Now I can click on the 1st 1 and move this up. And as I do this, you see that the motion path off this fear is also changing. But as I drag the one on the left, the one on the right moves itself in the exact opposite direction. Now, to avoid that, you can hold down the shift key, which is a re useful shortcuts when you work with graphs. So you hold down the shift key and that will break the two graphs order to handles apart from each other like that's. And if I do the same thing for the 1st 1 as well, this is value over time. So the higher this is, the higher the ball will go. So when it first starts instead of just folding down. We should be a declining graph if it goes up, which it does now because of the handle I just tweaked there. The ball is going to go up first gradually. Then it will start falling down. I'm sure what that looks like here. If I click and drag this look, Sphere goes up by a couple of units that it starts falling down. Now, if I want this to be exaggerated, I can move this one up as well. So this fear goes way up. So if I not play this one, you see this fear? Start here, then it goes up. Then it starts fooling them. But when he falls down, it goes through again, as if it just continues the movement. In this case, I need to select this. And because we already broke the link between the two handles here, I can just click on this without the shift key and then drag this up and you see that this is lifting up the bowl again once it hits that floor or to step here. So if I go and play, this, you see comes down and it goes Bang on. Then it goes up again on then it goes down and again it does the same thing. So I would need to select this point and hold on a shift so I can create a better curve here. So it's smoother, and I do the same here as well. Now, on the other, the same here. So I said at this point and shift so I can break the link between the two handles and then on to the same here. And I've got two more to do now. So I'm gonna select this and then the shift key. I'll break the two apart and under this on the other, the same for this side as well. And then finally, all select this point. I'm gonna lift this one up on. There we go. So if I press hate against, I can see the whole thing on my press. Hate here is well, so I can see the whole thing here and then maybe more punitive it and zoom art. And if I now go and play it back, we should know, have a bouncing ball that's looking much better. I'm just going through the stairs and that's it. is from the perspective, you as well. So if I now go to my front view, change my camera to perspective on if I damn press Hey, H, I can now see what the bull is doing in the perspective. You If I play this, here we go. Now that's looking much better. The reason why it looks a little funny on the moment off the X Is this that Miss woman? So I can show you this because the X already has a curved on the graph as well. So if I select the X graph, which is the position X and then press hate because this one already has some sort of a curve. When it goes through the animation, you see that the X is actually sliding a little bit strangely, especially around there and there. You see this the first time hits it, so it kind of takes its time before it moves forward towards right. Then it moves forward. Then it slows down again and again and again. Now, in order to fix that, I can actually make all of these lines straight on. That's called Alenia interpolation on. That's really easy to do once you select position X, which means that all the key frames are selected. Otherwise, you can just go impress command A to select all of these key frames manually. You then right click and then you come up here. It's a splitting, and you change this to linear. And when you do, this is going to get it off the curves on the exposition, and it's going to create a much better results when I play this now you'll see that's looking much smoother than it did before. And let's say now that you want to slow down the whole animation, the easiest way to do that would be to go back to your dope sheet here, which is this bottom. And then if I zoom out from my timeline, which I can do by holding down two and then dragging towards left if I make sure I select everything, which is command A. I can then click on this summary key frame and then drag this one out and it's going to stretch out my timeline that safe to about 220 frames. And now if I play this, you'll see that the entire animation is going to be much slower than it was before. So let me hit Space bar so you can see what's going on. So you see, it's much slower than it was before. Using the timeline in two different modes. The dope sheet on the F curve mold. You can create some really interesting animations. In the next tutorial. We'll have a look at how to create a squash and stretch animation on the bouncing ball. 65. Animation - Bouncing Ball Squash: now that we have our bold animated, let's have a look at how we can squash and stretch it. Not to do that, you'll be using any former called Squash and Stretch, So it's down here on the right inside on. If you remember, the way the reformers worked is that you place to the former inside the object or yet to place the object and the D former inside the mall. But in this case, I had to place the D former inside the object because I want the D former to move together with the object. That's why I placed it inside, and I made it a child. So as soon as I do that in the attributes manager on the right, if I go down, there should be an option that says fit to parents. So that's going to make this question stretch or exactly two. Ready sphere, ease on. All I need to animate now is the factor options. If I increase the factor, it stretches the ball. If I decrease this, it scorches the ball so that we re set back to the beginning and I'm gonna zoom in twice fear like that. What I'm gonna do now is to find two values that I'm gonna use for the rest of the animation. So when the bowl is at its most stretched state, I'm going to set the factor. Let's say about their let's say, about 150% and men, this fear is squashed. I'm gonna use, let's say, a value off, Let's say maybe 80%. So I'm gonna go and set this to 80. So I remember those two numbers 80 for the squashed State and 150 for the Stretched State. So let's go back to the beginning. So that's frame zero. So when it first starts, I want this to be set to its default on the percent. So there's no deformation and I'll key frame the factor on dial manually, move forward in time on. I can actually see this with my f kermode as well, a little better. So if I click on the F curve here, I can see where this fear starts moving down again. So it's gonna be somewhere where this graph here starts moving down. Finance women. You can see this a little better. I'm using one and two keys here to navigate so around the bar here, this fear starts moving down again. So at this stage, I want the factor to be a stretch to state, which was 150. So if I said this to 1 50 and then all key fame this as well, and I'll go to the point when it hits the first step, which is on the 25th frame, more or less it's on the 24 it turns out, and then I'll go here and then set my factor to be the lower number that I set up earlier. So that was 80%. And then I'll keep famous again and then I'll go forward. So about Frame 35 is when the ball starts falling down again, so I'll set the factor to be 150 again. You can exaggerate these values as much as you like. I'm gonna go in key, famous as well on. I'll go to my time. Mind again on I'll go to this frame or this key frame, I should say. And then I said the factor again to be 80% on key. Frame that and then go forward to about frame 60 or just before and I'll set the factor to be 1 50 again and then key frame. It's and I'll keep doing this until I reached the last key frame. So I'm gonna go drags towards rights on this is said to 80% and then key frame. One other thing we could do here would be to copy and paste key frames, so that would speed up the work for a little bit. Let me go back to my dog shit here to show you that. Now I have the factor key frames down here as well. This question stretch. If I open this up, you see the factor key frames in here. Now this key frame is said to 80% and this one is set to 1 50 If I now want to take this key frame here, the one that says 1 50 then have it, let's say somewhere here before the ball starts falling down again. So somewhere about here all I would need to do would be to select this key frame, drag this with the control of the command key and that will drag a copy off the key frame on when I let go you see that exact same key frame is being copied over here as well. If I damn well forward, find the point of contact, which is here. I can then take my 80% key frame with the command key and then dragged this with the command key towards right, so that gets copied over again. I'll find the point credible starts, folding bounce or somewhere around here. And then I'll just go and copy this key frame, the one that says 150 with the command key. I'll drag it here and then finally, I'll take this 80% key frame and then dragged this to be on my last key frame here. So right now, if I rewind them, play this, which is Shift F on then F eight to play. You see that sphere will have this question stretched, applied throughout the entire animation. So here ago that's F eight on F eight again to posed animation, and the rest is all about tweaking the key frames here. So if you wanted the key frames to be slightly later or earlier, so if I go here, let's say, for example, if I move my cursor in my time Mind earlier from right here, I cannot take my factor. Key frames And these are the ones. The last ones here. I can just tweak them. So as it goes down, maybe it starts deforming somewhere around here. So for that, what I can do is I can move my factor key frame towards right so it stays stretched until about there. You can see so it stays stretched. Then it's cautious. Then it gets stretched right away. Maybe about here. I can then move this tours left as well. And then it stretches out again and so on and so forth. So the rest of it is really about tweaking the key frames to make this look perfect on. I'll leave it to you to make the ball, bounce squash and stretch in any way you like. So enjoy 66. Dynamics - Intro: the traditional key fame animation capabilities of cinema 40 are fantastic. But when it comes to creating realistic looking animations, especially when the objects start interacting with each other or bouncing off one another, it becomes quite tricky to use key frames. That's when the dynamics come in With cinema forties Built in Dynamics engine, you can create realistic looking animations without touching a single key frame. Let's see how the dynamics work. 67. Dynamics - Rigid & Collider Bodies: in order to activate the dynamics unit use attack called the simulation tag on the object. Usually you'll find these tax here, So if you go and right click on the object and then in simulation tags on, you'll find a list of the dynamics tax here. Let's start with the rigid body tag. What the rigid body does is that it allows the object to interact with gravity. So if I play this now, you see the gravity will pull the object down. And if I go back to a different angle here. So if I pressed the button pH and then maybe zoom out from this and then back up and play again, we go to a different angle like this. If I play again, you see the object starts falling down and it will keep pulling down. That means women. It's a bit. It will keep falling down until it hits something, and usually that something is going to be a collider. Let me go back to the beginning, and then if I create, let's say, a plane, I get closer to this. I'll stick the pin and then I'll move it up and then also mounted is a bit more, if I know, make the plane a collider body. So that's in the same place you go right click on the plane than simulation tags, and you make this a collider body so that the rigid body can interact with it. So if I go create the collective body attack, so what happens now is that as the pin falls down, you'll be collecting into the plane. So therefore it wont be able to fall all the way down, have a look. You can see that the pin bounces off the plane and that is the very basics of dynamics. This is how you said the interaction between two objects. You have a rigid body or you can actually have a soft body as well. If you want this object to start deforming. Plus, you have a collider so that the object knows what to collide into if I go back again. One really important thing to remember with dynamics is that before you change anything, you always want to rewind back to the beginning. And the reason for that is this. If I go and play this on, let's say ago, impose this. No, if I select the pin, and if I wanted to move this around, you see it doesn't work. It doesn't let me move it. That's because the position of the pen is no longer controlled by the coordinates off it's It's actually controlled by the tack, the dynamic stack or the rigid body attack, which means that the position off this pin on this frame depends on where depend. Once on the previous frame on, that depends on my depends on the previous frame, and it goes on until the very first frame so it can only change the position, often object if your player is at the beginning. That's why you rewind back to the beginning, which is shift F on the keyboard. Then you make a change. Let's say to the height of this, then you can play it and then it will fall down from there. So that's a shortcut to remember Shift F. In other words, you're shifting the play head to the first frame. Let me make my plane a little bigger now, So if I select the plane and then press T, I can make this a little larger like that. And if I zoom out and let me increased overall time as well. So if I said this overall time to be, let's say, 500. And then if you double click on one of these arrows, that will expand the preview area as well because my plan is larger now I can play it. And then as I rotate the plane, if I press are to get the rotation tool, look what happens so it can animate this on the fly. So if I pause this, go back and then reset the planes rotations or select the plane coordinates, reset its pitch, and I can keeping these properties to create animation that we saw earlier. So, for example, if I want this to play until about there and I pose it, I can then key, frame the pitch and then maybe go forward a couple of frames. So instead of 61 I'm gonna go forward to let a the 64th frame. So I'm gonna press the letter G three times. I don't change the pitch to, let's say 60 and then key frame that. And if I played now you see what happens to the pin on the plate. Of course, so the plane rotates and it kicks depend out the way. So this is the very basics off dynamics. Let's rewind back to the beginning by present Shift F on. I'm going to select these two key frames and I'll delete them and then I'll click outside here to get rid off. This highlights. Another important thing to keep in mind when you work with dynamics is that when you start the scene, the objects should not intersect each other. In other words, if I move the plane up like this so it's halfway through the pin, and if I played some crazy things like that happens here, the pin doesn't know what to do. That's why it's going crazy like that. The pin, thanks to its dynamics tag, wants to fall down. But because half of its polygons are under the floor and the other half is about the floor , it just doesn't know what to do. That's why it creates this random animation. So there we have another important point to remember when working with dynamics. We want to make sure that the objects that are dynamic do not intersect each other at the beginning off the timeline So if I rewind back, you don't want to have a scene that starts like this. You want to separate these objects like that? Then when you play it, it will do what it's supposed to do, which is to fall down. 68. Dynamics - Gravity: Why do things in cinema 40 that full down fall down? Well, they fall down because there's gravity and gravity is inside the project settings for each project that was controlled the or command that the on the Mac, if you remember, And in here, if you go to the dynamic stab, there's an option here that is gravity. Gravity controls the speed of the full. So if I go and play this, it falls at a certain speed. And if I rewind, shift death and then increasing gravity, let's say I double this to 2000 and then play again. That's going to full much faster. So if I rewind on, it's just exaggerate this. That's a maybe called toe 7500 and then play again. You see, it's falling down even faster. I can slow it down as well. So if I rewind and then bring the gravity down to, let's say to a 50 and then if I play it, you'll see it will full down much slower, and I can in fact said this to a negative number. So if I go and set this to, let's say, minus 2 50 that will start floating up. So if I go and play this, you see gradually float up, so that could be useful. For example, if you are creating an underwater scene where things start floating up, that's when you can set the gravity to be a negative value. So if I rewind and then we're back on, reset this spectral default, which is 1000 units, and you can, of course, key frame gravity so that as objects fall down, you can just change the gravity from authorities toe a negative value, and at that point the objects will start floating back up again. And that's possible because you see this great dot next to the word gravity. That means you can key frame this or it can animate this over time. 69. Dynamics - Bowling Alley: We will now have a look at creating a dynamic bowl so that we can send it across this lane on. If you're lucky you'll get a strike on. All these pins will fall down. Let's start by creating this fear, so we'll use this as our bowl on. I'll make it into larger on. Then we'll lifted up as well. Like that on its going. Call this bowl. If the bowl is to interact with depends in any way, it would either need to be a rigid body or Eckel, either. Buddy. Now, if you want object to be affected by gravity, it would need to be a rigid body. In this case I heard, Depends said his rigid bodies are need to set my bowl also as a rigid body. And then the floor is a collider because the floor is the only thing that we don't want affected by the gravity. So that's going to set the bowl as a rigid body as well. And if I play it as it is, look, what happens depends on the bulls shoot off in different directions because, like I said in the previous tutorial, if the two objects that are dynamic, intersect each other at the beginning. Off the timeline, it's going to create some unpredictable animations. So if I played us now again from the beginning, you see that this fear and this pin their intersecting each other. That's why we're getting this random animation right to just shoot off. So I need to ensure that this fear or the ball is away from the rest of depends. I them play it, you see that will fall down and it just hits the collider, which is the lane, and nothing else happens. I'm gonna go back, rewind and I'll go back out so I can send this ball through the lane by giving this an initial kick. So let me show you how that's done. I'll pull the ball back this way and only still operative it. If you want a rigid object to be shot in a specific direction, my hit play, you need to turn on what's called a custom initial velocity. So if I go and select this tab and then come down to it, says Dynamics. In here, there's an option that says custom initial velocity. This is what we use in order to give the ball and initial kick. So if I go and turn us on it, then reveals two extra options initial linear velocity and then the initial angular velocity. Now the linear velocity refers to the position off the ball. Married, angular velocity. Your first, the rotation off it. I'm gonna give us an initial kick in the set direction because that's where this blue arrow is pointing. The red Arrow is pointing, so I want the ball to go towards the pins. So it increased initials ed velocity. So if I go down to said, and if I increase this just a little bit, I'll see if this is enough, it probably won't be enough. But let's have a look. So if I now play this you see, instead of just falling down, it actually has an initial kick. So if I just played again, it moves in this direction rather than just falling down. Look. And of course, it does fall down as well because of gravity. Let me just go back to the beginning, and I'm gonna increase this initial linear velocity by quite a lot. Maybe gold to a few 1000. And then if I play it. Look what happens. That's looking great. It's going to refine this. I'm gonna go back, pull the ball back down a little bit on Don't play again and I'm gonna make the bull a little faster. So I'm gonna go back, increased this. Maybe, let's say toe 3000 and then play again. And in fact, I can actually make the ball a little larger like that. And I'm gonna check this from the front of you to make sure that the ball doesn't go through the floor right now it does. So I'm gonna lift it up a little bit like that on in the perspective, you will play it again. There you go on. Rewind the reason why the pins look like they are on ice. When I played this, have a look. You see, they start sliding the lots. That's because there's not enough friction either on the floor or depends or both. The friction. Property controls are sticky. If you like the surfaces off the objects are. So if I go to my plane and then if I come down towards its collision in here, there's an option that's this friction on by default. It's set to 30%. Let me increase this. Let's say to 75% and then I'll rewind and play it again. They should make the floor a little more sticky for the pins. If I go and play this, you see, they won't slide as much. If I go realigned again, let me exaggerate this now. So if I said the friction up to let's say 1 50 and then play it, you should make the floor even stick your look so they don't disperse as much. If I go back and then increases a lot, just told that we can exaggerate this and see what this is doing exactly. Let me set this to let's say 2 50 and then play is gonna make the floor realistic you now so they hardly ever full down. Actually, that, of course, affects the behaviour off the bolas Well, so I'm gonna go back on. I'll select the tag off the ball. So increasing the dynamics, the initial linear velocity. So let's say 4000 so it goes faster. In other words, deflection off the floor won't have enough influence on the ball to stop it. If I go play it There you go. That's looking much better. I think in the next tutorial, I'm sure you have to make this ball go through another object. 70. Dynamics - Collision Shape & Custom Initial Velocity: Let's have a look at now how he can make the object go through another one. For that. I'm gonna go and create a tube and I'm of the tube towards here and I'll lift it up and I'll go to the four up to you and I was women here in the top view a little bit. I'll select my tube and then go to object and I'll change my outer radius as well as my inner radius. And then I'll change the heights. Let's say around about there onto the troop at a bandit, former. So I'll select the bend. Add that inside the tube and the 5th 2 parents who is in the same place and then I can increase the strength of the bend. And you see the truth doesn't conform to the shape of the bend because it doesn't have enough segments. So I'm gonna go to the tube, increased the height segments as well. Then we have a shape like that, and then I'll go to my perspective, you on. Then it Just take this back, say like that by 90 degrees, and then maybe this way by 90 degrees, so that we can send a ball through this troop. I'm gonna lift the ball up, so let me zoom out. First on, then let's take the bull on. Lifted up. I want to bend to be exactly 90 degrees, so I'm gonna select it and then come down to strength on set this 1 to 90 so that from the top view, I can align the bowl as well. So if I select the bull that goes hair so it feels exactly inside the troop, then I'll maximize the perspective. You What will happen now is if I go and set the troop to be a collider, because I don't want a tube to fall down. I just wanted to sit there and only interact with other dynamic objects like the ball. I'm gonna go and set this one as a collider. The problem that you'll run into now is that if you're object, the collider order rigid body has some holes like this. And if something is going through that hole or if it's trying to go through that whole look , what happens if I play it off course? This fear is shooting towards the set accents because we set the custom initial velocity off the sphere. Let's go and turn it off. So if I go to my sphere, select that, I'll turn off the custom initial velocity and I'll come back to the beginning. And then if I play again, this is the problem that you've run into for the ball will not go through the object. It will not go through. The truth doesn't matter, are small, double is or how large the troop is. So if I acceptable, make that smaller. And if I play again, you'll see. Even now, it won't fall through, so it's nothing to do with this size. There's an option on the dynamics tag called shape. So if I go to my tube and then come down to us this collision, there's an option here. That's a shape, and this shape is by default sets automatic. This is the one that's going to process quite fast. What the shape is is that it places a cube shaped bounding box around the object like this , and it doesn't take into account any of the details off the object, such as the holes here we have on the tube. Now to tell Cinema 40 that this object actually has some details. Like the holes you need to change shape from automatic to static mesh because the tube is in moving. If it was animated, I would change it to moving mesh. So I'm gonna change it now, too static mesh. This is an important button. When you want objects to go through other objects or you want the objects to appear inside other objects, you need to turn a static measure option on if I do that. And if I now played, if I go back, maybe make my spirit is a larger again. And if I now play it, you see this ferial full through the troop and it will actually hits. Hopefully the pins. There you go. That's a strike. And of course, if you want this to fall faster, you just go to gravity and increase the gravity in the project settings to, let's say, 2500. Then if I play this, if I zoom out, you see now that the bulls should fall much faster. So if I go and play this there you go. If you didn't want to increase the gravity, but you still want the ball to fall down faster. You can give this and ensure kick bound the Y axis. So if I go to the balls tag and then if I go to my dynamics, turn on my custom. Initial velocity turns at 20 and I'll decrease in this case, the Y axis. So if I goto why and let's say I set this to minus 1000 I decrease it because I wanted to go down. I'm gonna dente. And when I played Cinema four D will give this bullet downwards kick, which will make it full down much faster on that's a strike. 71. Particles - Emitters: when it comes to multiplying in model so that you have thousands or even millions off the same model. In this scene, you use particles. Particles in cinema 40 are extremely useful in all sorts of different ways. Assume you have a model off, say, a three D snowflake, and you would like to take that model and multiplied by tens of thousands of times so that it can make it look like it's snowing. And that's exactly what particles there for. You take a model and then multiply by as many times as you like and then make it look as if they are being emitted from a single spot or a larger area. Let's have a look at how it works now. In order to create the particles, you first need to go up to the simulate many at the top and then come down to excess particles, and you create what's called an emitter emitter. As you see, it's a green object is a generator. So if I go create one and as soon as you hit play, it's an active objects, or it's going to create some particles that you can see here. If I zoom in. You see all these white lines, and these white lines are only guides, so they're not going to run their out. So if I go impress command are you see, nothing actually is visible in my rendered view. So let me press a to redraw the scene before we start talking about the settings off the emitter. It's probably a good idea to create a new object and then place that object inside this emitter so we can see what those settings are doing one by one. So let's go and create a cube to start with on its massive now. So I'm gonna make that smolder, maybe even smaller. And then I'll place the cube inside the emitter by literally dragging it down, and it still won't change anything. It still won't show anything, but if I actually go on, render this. You'll see the cubes instead of the lines. Now, if I come out and click somewhere else, if I want to see the cubes here as well, there's one sitting on the Internet. We can change, so if I go and click back on it right towards the bottom off the particle tab here, it says show objects. So if I click on this, it's going to start showing us the objects that we've placed inside the emitter rather than the lines that we had before. So that's the first step. I'm going to rewind that shift f on if I play again. And in fact, I'm gonna make my overall time, and it's a longer so that would just increase this time, let's say 500 and then double click on this arrow to make the preview area as long as the timeline. Then I'll rewind again. Let's have a look at the settings of the particle emitter now, So if I go to the particle tab here, the 1st 2 options are for the birth rate. The birth rate refers to the amount of particles you have and the reason why I have two different options. One for the editor. One for the renderers is so it can use two different numbers. Forties. The reason for this is, let's say, for example, you have a scene with little snowflakes, and while you're working with that scene, you might want to have just a few of them so that the processing isn't too difficult. But when you render, you might want to have more of those snowflakes. That's why it gives you the option to control the two numbers independently. Let's see what this looks like. So if I just go and increased this from 10 to let 100 50 and then play it, you see we'll have a lot more of these particles now than we had before. So that's going to reduce this back to 10 again by right clicking. If I played again, there you go. We just have that money and you'll notice after a while that the particles are no longer being created. So if I play this again from the beginning, so these keep getting created until about frame 1 50 that's when they stop. That's because in here the stop emission is set to 1 50 This is when the particles are no longer going to be created. So if I increase this as well, let's say we set this to 500 as well. And if I rewind them, played back, good now have particles until the very end of the timeline because that's how long the time minus 500 frames the fact that you can change this number as well as this started. Mission gives you lots of different options. So, for example, let's say I want to create a burst of particles so I can set this to, let's say, 50 and then the stop emission to, let's say, 55 I can increase my birth rate to, let's say, 500. It's now going to create a little particles on the over five frames so it will look like a burst of particles now. So let's go and play it again. Nothing should happen for the 1st 50 frames. Then they should be created from the 50th until the 55th frame. Here we go, Danny goes, Poof! I composed it again. I'll set these back to zero on 500 on defy Rewind again. The next option. Here, seed is the random ization off those particles positions. So if I play it and if I pause it, let's say on any given frame, I don't want a single particle to appear here. I could just go and increase the seed. And if I play again, that particle here, if you keep it on this particle, shouldn't be here anymore. on it isn't it was someone in the front before. It's not refer to back, so the seed option on the randomize is what happens to the particles. Let me now go and reduce the birth rate again. Let's say this timeto 50. Rewind on play again, and you also have the lifetime. So how long are they visible for or how long they live for? So if I decrease this to, let's say, 100 you see they'll start disappearing after about on the frames next to some of these options, like a lifetime. There's another option called Variation. The higher this number, the more randomized that particulate setting will be. So if I go and increase the variation to, let's say 50 some, if it will die earlier and some off it will die later, they propose this and then go back. This speed is the speed of the actual particles, so that's going rewind this again and then set the variation in the lifetime to zero. So they all die at the same time, more or less. And if I increase or decrease the speed, look what happens. So if I play it as I increase the speed. You see they'll shoot off much faster. And as I decreased this, they'll go much slower now. And these are the things that you can animate so it can keep Randy's as well oppose this again. There's a variation as well. There's we can randomize the speed of the particles. So let me maybe set this to 2 50 And if I rewind, I'm playing in you see, that's how fast they'll go on. The next option is the rotation. If I increase this, which already, by the way, has the variation set 200%. So if I increase this, they will randomly rotate now because of the variation value here if I pulls it. And if I said the variation to be zero, you see, they will have the exact same rotation now. So if I play it now from the beginning, they have exactly the same rotational that same time, increase the variation not to randomize that have some more, and then the last option I'll show you here is the end scale. So this is whether they change the size towards the end of their lifetime or not. So if I increase this end scale from one, which means don't change the size to, let's say, three. That means it's going to be three times larger. And if I play it, you see as they leave the particle emitter, they'll get larger and larger and larger towards the end off their lifetimes. So if I increased and scale even more, you'll see that the ones that are further away from the emitter are the ones that are getting even larger. I can actually set this to be smaller as well. So if I said this to zero, so they'll become tiny and disappear just as they die. So if I played it again, you see that get smaller and smaller and smaller as they go away from the emitter again, I can increase the variation here to make that randomized as well. Let me go back and zoom out a little bit on. I'm gonna set, then scale to be one as well, and I'll play it from the beginning. And as it plays, I'm gonna rotate the emitter so I can see what's happening. So I'm gonna press are and that's it. Play on, have a look. If I click on this red band it won't highlight now, but if I click look what happens to the particles on. I compose it on. Let me get back to the beginning and make the emitter lifetime into longer as well. So let's say you make this 500 on, then, as it plays, I can randomly will take this. Now, have a look. It creates this an interesting looking kind of dispersion off these particles. And as I pose it on, go back out, you'll see all those particles moving in different directions. Now, I'm gonna go back and rewind on, zoom into this particle emitter and change its coordinates back to 000 So I'm gonna go right click right, Click on right Click. The particle emitted by default is always going to shoot out the particles in the positives that direction. So if you press e on the keyboard to get the move tool so you can see these arrows the part because they're always gonna go in that direction. But you can change that if I go to the emitter and then go to the emitter tab. You know, a couple of options. Here you have the exercise and the UAE size these to refer to the actual size off the emitter on its better to change the size of Demeter using these options rather than this scale tool. Because if I scale it, which I can that's actually going to make the cubes larger as well because the cube is the child off the particle emitter. That's why, if I scaled emitter, you see that the cubes are getting larger and larger and larger as well. If I exaggerate this look and if I was amounts, you see the cubes will get smaller as well as the particle emitter, so that means they want even more now instead of doing that. If I pose this, I go to the emitter inside the emitter, I can change X and the Y sizes so I can make this, Let's say, 1000 index. Uh, let's say maybe 25 on the Why. So that's how big diameter is now. So it's going to look more like a horizontal line when they are emitted. Look, And if you want the particles to come from a single point, you can just reduce these, both of them to be zero and zero. Then, if I play it, you see, that will come in a straight line. This could again be useful for all sorts of different things on If you want to change the angle off where these particles are shooting towards, that's what these two options are for. So let me set my exercise to be 50 and the UAE size to be 50 as well, and I'm gonna zoom in. Let's make these cubes a little smaller. I'm going to select the Cube, get my scale tool and scale them down. And if I rewind and play it, let me slow this down as well. It's a bit so if I go to the emitter, got a particle speed changing the scale of the particle emitter changes. All of these. It changed to speed. It changes the emitter size as well, as well as the cube itself. So it's best not to scale the particle emitter. Unless you want to mess up these values here, I'm gonna set this speed back to, let's say, 100. And that should slow the particles down. Yeah, if I now go to meter. If I go to a different angle like this, the horizontal angle changes the angle off the particles horizontally on the X line. So if I let go here, you see there now being emitted towards left and right as well. If I rewind and if I reset is back to zero, increase my angle vertical. That's going to make the particles go up and down as well when they leave the particle emitter ago. If I increase both, that's going to start spraying the particles in all directions. If you don't mind the particles to go behind the emitter, you need to make sure that this angle horizontal is said to be below 1 80 If I increase this to be about 1/18 let's say we set it's 2 to 50 and then if I rewind and played back and if I go to a different angle Now, you see some of these particles are actually shooting in opposite directions or they're going backwards on. That's the key there. So we need to make sure if you don't want the particles to go behind that, this number and the horizontal is said to be below 1 80 So, in this case, I'm going to go and reset both of these 20 and then rewind and answer your one more thing. And that is the fact that you can have multiple objects inside the same emitter. So if I go and critics fear as well, and that's if you make this fear smaller, and if I placed this fear inside the same emitter, you'll see that it will alternate between this fear and the Cuban out. So if I go play it, you'll see it will create this fear and the Cuba at the same time. Off course, you can't see much of her rotation on the sphere because, after all you notated sphere it still looks like an exact same sphere. Unless, of course, you have some textures applied to it, so that's going quickly. Create that as well. So if are created, texture and let me double click there. I'll go to the Color channel, got to texture, and then I'll go to surfaces and maybe have some tiles on this. And then I'll change the tiles two lines by clicking there, and then this will be applied to the sphere, but then dragged this on top of this fear. Here 72. Particles - Forces: when working with particles in cinema 40 you'll make use of these objects called forces Forces will help you simulate some natural phenomena such as gravity, friction, turbulence, wind and so on. So the way you create them is by going to simulate at the top and again you gotta particles on. These are all the forces that you can use, so let's start with gravity. So if I go and created gravity object if I now plate, you see that this scene will now have a gravity that's affecting all the particles on the particles, therefore, are falling down. So if I go back and then go to my gravity object, I now have an option here that I can tweak. So if I change this from 2 52 let's say 7 50 And if I play again, you see that objects are falling down much faster. That's the strength off the gravity, and this is something you can key frame. So if I go and key famous at this point, and if I go forward by one frame and then maybe changes from 7 52 let's say minus 7 50 and then key frame again, that's not going to switch the gravity's direction. So instead of falling down at some point, which is the 76th frame, it's going to start floating up. So if I go back and play it, you'll see that objects are gonna start floating up when we need that key frame there. So the acceleration here changed the speed or the strength off the gravity. Now you may have noticed Let me first go back a couple of times by pressing, Control said. So I had no key frames anymore. You may have noticed that the gravity affects the entire scene, so if I go back and play it, every single particle will fall down. Now. Instead, you can change where the gravity object physically is by default the gravity object. If I change the position of this, let's say to put it here, it's still going to have an effect, the exact same effect on every single particle. So it doesn't really matter where you put the gravity object. Unless, that is, you changed a full off off the gravity object. So if I got to gravity fall off, you see that shape is set to infinite meaning that it will affect the entire seeing or every single particle. If I change it from infinite to one of these shapes here, let's say we start with a box. You now have the gravity only constraint within this field here. So if I go back and play it, the particles that are outside this area are not going to be affected by gravity. And the particles that go inside this box or the Cube are going to be affected by it. So if I play it, you see, until they hit that cube, nothing happens to them. Then they start falling. Now, Now, the cube, you may have noticed has actually to accuse That's called the Tesseract. So you have a cube inside the cube on this cube here does. The red one is going to have 100% effect on the particles on anything outside the yellow one is going to stay unaffected. And from the yellow one through the red one, you're gonna go from 0% off the gravity up to 100% of the gravity. So there's, like a gradual shift going from not affected toe affected gradually. So if I see this from a side view. This might be easier to explain from the side view here. If I play it back again, you see nothing is affected before they hit this yellow area, then let me zoom in a little bit. Then they'll start getting affected as soon as they go inside this yellow area, and as soon as they go inside this red area, they'll be fully affected. So if I play it now, you'll see. So they gradually start falling down here, and as soon as they go into this red one, they fully fall down. That's because they're being affected by 100% of the gravity that's called a full off off the full off area. So if I now go to the full off area here, I can increase or decrease this. You see you're making the red box bigger or smaller, and if the red boxes small like that, so it's set to 0%. So that's the same size as the yellow one. Now, as soon as the objects hit the yellow box, which also means that they'll be hitting the red one, they'll start falling down. So if I go and play it, you see as soon as they go in there, they're being affected by on the percent. And as I make my full of bigger, So it's a tiny dot in there they will gradually be affected as they go through this yellow box. So if I go and play it you seen out there gradually being affected and they're fooling down until later than they were before, I'm gonna come back out. To my perspective, you on maximize this and that is amount. Let me make my gravity object a little smaller. So I'm gonna go and make it smaller on if I make my particle emitter smaller as well. So let me go to Demeter. Maybe set the size to be, let's say, 75 by 75 and then if you play it, they should eventually start falling down there. You'll also see after a while, when you have lots of particles in the scene, the playback isn't going to be a smooth. That's because Cinema 40 is having to think about these individual objects together with, of course, their polygons. That's slowing down the process now inside diameter under the particle tab. There's one option here called Brenda Instances if you turn this on, this is going to make the entire simulation run much smoother. So if my grand plate is again, you see it's gonna be much smoother now, so the playback doesn't have any lag. This basically tells Cinema 40 that all these particles are the exact same copies off the sphere and the cube that you placed inside of them. So it's rendering on Lee what are called instances rather than rendering the actual object . This option has some different users and some limitations as well. But for now, it's enough to know that if you turn on the render Instances button that's going to make the playback might smoother on. If you turn us off, let me exaggerate this so you can see what's happening now. So let me go to a different view. But I can see most of those particles like that and if I increase the amount of particles we have, So if I go to emitter and they say we set this to 500 and if I play it, you see no time it's going to start struggling, and eventually it's going to turn into the wire frame mode. I'm gonna give this a bit more time to populate this scene so we can see those wire frames as well. So when cinema for you can't handle these polygons all at the same time, it switches to the wire frame or that like this, and you see that animation happens a lot smoother now. But if I pose, of course, the shavings are gonna come back. But instead, if I go back to the beginning and if I turn on the rand there instance a button that's going to speed up the animation right away. You see, it's not nagging anymore, so this helps their processing a lot. This just tells like I said, Cinema 40 that these objects are the exact same copies as these Fear and the Cube objects. So let's go and reset the birth rate. Let's say down to 75 and I'm gonna rewind as well on Let's go to a side view like this, and I'm gonna move the gravity closer today meter So the particles are falling down right away pretty much when you set the fall off off the gravity to be different than infinite. The particles are gonna go inside this shape and they're full down, and as they leave the shape, they'll have a trajectory on their continue following that trajectory towards there. But if I want them to fall down constantly because right now they're not falling down there just going straight from the angle that they left the box in. But if I want them to keep falling down, I just change the gravity from a box back to an infinite fall off. Which means that there's gonna be an infinite effect off the gravity on the entire scene so they keep falling down. Now as they fall down, that just pulls this like an introduced another force. Let's say this time we have a wind objects. The wind looks like this, so it's a big fun. So I find more this year. And if I played, you see what that does is to make the particles go faster as they're being emitted from the emitter on again. The wind affect the entire scene, so that means if I move the position of the wind around, that's got no effect on the actual animation. So if I pose this and go back, however, the rotation of the wind is important. So if I play this and if I rotate their end, let's say that way. This is not contracting the gravity. And if I now go and increase its speed 11. So if I go to the wind object then we had the wind speed. I can go and increase this. Maybe you want faster. You'll see that objects are floating up now, which means that the wind is counter acting the gravity again. Of course, I can set the winds full off to be different than infinite. So if I change this to a box, you see only the objects that are inside that books are going to be affected. So if I move that box down because the objects are falling too fast because of gravity, they don't have enough time to actually be affected by the wind. I'm gonna go to my gravity on may be change its object acceleration down to, let's say, 50. So they're full down slower. So that's just more to stop a little bit. Maybe. You see, as the particles fall down and they get closer to the sweetened object, they'll start floating back up again because the wind is pushing them in the opposite direction off the gravity. So if I play this again from the beginning, you see they'll start falling down because gravity and then gradually they'll start shooting up because the wind object there. If I zoom out, there you go. I can, of course, great. Another wind. So if I get my move tool on press w So these arrows are showing the right directions based on the world coordinate system that I can control. Drag this towards here and I can drag this up. And maybe I cannot take this down on May be pull this down in some more And if I play this now so if I go back and if I go play this again, let me zoom in. It's a bit, you see, because of gravity, they're fooling down. This wind is making them go up on this one Here is making them go down again so you can create some really interesting streams of particles by using some forces such as the one we just looked at opposed animation. One last force I want to show you here is called deflector. So if I go to simulate and then particles on deflector. That's just the rectangle that gets created here. If I now pull this away on may be moving down as well. And if I make this bigger and I'm gonna rotate this as, well this Vietnamese women there when I will take this as well, let's say towards here what the deflector does is to act almost like an invisible wall so that these particles will hit the wall and they'll bounce back or deflect back from that wall. So if I play this again from the beginning, I spent a couple friends before we get to the deflector. But they're the particles should appear on the bouncing off the defector. Now as they bounce off, let me select a deflector and then go to object. You had the bounce amounts here, So if this is set to 100% that means they'll leave the deflector or the bounce off the defector with the same speed as they came in. If I decrease the bounce, let's say I said is to 25% they're gonna lose some off their energy when they hit the defector. So the defector is gonna be a little stickier, so if I go play this back again, so here you'll see they'll go up, down and then they'll hit the defector. Let's zoom in and you see they're slowing down. So they're not leaving the defective. The same speed they came in that if I pose it, let's set the balance amounts to 0%. And if I play, you see there last start sticking to that deflector and then just sliding off it. Let's go back and play this again so we can see what's happening. So we may need to wait a couple of frames first. Before we get to that deflector on, you'll see that they're all sticking to the deflector and not necessarily bouncing off it. That's what the bounce option there does. 73. Particles - Using Fields as Falloffs: the fall of top has been updated in released 20. Let me show you what it looks like now. Here I have an emitter with the Cuban side, and I'll play this animation so you can see what it looks like on as it's playing. I'm gonna add to it a gravity force, so I'll go to stimulate forces gravity on. I'll pose the play back for a second. I'll go to the full of tab. In the older versions, we had a drop down menu here where we had options like infinite box Sphere, linear and soem. Now that's been updated and replaced by what I called Fields. This is a different way of working, although the results, by default initially are gonna be quite similar. But it's a lot more powerful to use fields rather than just the basic full off that we were used to seeing, not Field's actual shapes that we can work with. So find are going at the box field, for example, and there are a lot more options here. If I click and hold it down, you can have all these different fields, which I'm not gonna cover on this lesson. I'm gonna go and add a box field and now that create a cube and you see that the cube gets created as an object inside the gravity as a separate object, and I can select it and then do all sorts of different things to it. I can scale this up, down. I can move it like that. And at the moment, if I just rewind the playback on, then hit play again, this is gonna be very similar to what we had before. But the advantage of this is I can now go to gravity and then add one more Feel to it. Let's say, for example, this time I'm gonna add a sphere field. I'll just push this out that way and then push it down. If I fly around so I can see it from a different angle like that, I could make that much bigger like that. And if I don't go back and play, I can combine multiple fields inside the same gravity force. This opens up all sorts of possibilities when it comes to creating more complex animations 74. Particles - Dynamics: When you want to combine particles and dynamics, there are a few things you need to watch out for. Let's say, for example, we have a hemisphere, so let's go and create a spear first. Then it can change a type from standard toe a hemisphere, and I'll rotate this by 180 degrees like that on. Let's say the task is to fill the inside of the spear with lots of small spheres. So let's go and create a small one as well. It's going to name these, so let's say the 1st 1 I'll call it the Bowl on the 2nd 1 Uncle a small spears and I'll make my small spheres quite small. So I'm gonna set the radius to, Let's say, 10 on Guy can add this small spheres inside the emitter. So if I go to simulate particles, emitter lift emitter up. I don't pull this back here. And if I put the small spheres inside off it, and then if I select the emitter and then just say show objects I played now you see that small spheres are not being emitted from that emitter. Let's get it's a bit more time so I'm gonna go and increase my overall time to, let's say, 500 on double click on the arrow to make the preview area as long as the timeline not to make these objects dynamic. If you go and right, click on the emitter and then go to simulation tags. This is something you shouldn't go. But I'll show you what happens if you do this anyway. So if I make the emitter in rigid body, what's gonna happen, though, is it's going to treat the emitter as a rigid body, not the spheres inside, but the emitter itself. So if I go and play this, you see that the emitter, we'll start falling down Not quite what I was after, so I'm gonna go back, and instead I'm gonna make this small spheres rigid if I know played this back now, if the spheres were quite large, if I go and increase the radius or if I had more particles so maybe let's say, said the birth rate to be 50. And if I play it, you see that this fears are doing some crazy things every now and then. Some of this I don't if you can notice this, but some of these fears are actually shooting up. Some of the march is going in that direction, so they're behaving a little strangely. It's exaggerate this by making spheres, and it's a larger as well. So maybe, let's say 6 to 25. And if I rewind and play it, you see some crazy animation is going on. I'm gonna pose this, go back, have a look again. The reason why this is happening has to do with dynamics. If you remember from the Dynamics chapter that when you start animation, if the objects are touching each other or if they're intersecting each other in any way, it will create some really strange and awkward animations. Not avoid that. You need to make the spheres smaller or decrease the amount of particles you have per second or make your emitter larger. So I'm gonna make my spheres smaller in this case so that when they're committed, they're not kind of touching each other. So if I go back and try this again, some of them are still going crazy. So I'm gonna go and make these even smaller like that. And if I played us, no, that should look a little more normal. I'm gonna zoom out so we can see what's happening here as well. And what I want to create now is for a small spheres to fall inside the larger one on. For that, I need to make the large round the bowl a collider. So if I go and select this to be a collider body and then if I played back, you'll notice one more thing here. If I go and play this back instead of fooling inside the bowl, they're actually bouncing off that surface. Some of them look like they're going in, but most of it will bounce off that kind of invisible cap there. So if I play it now, you'll see that's not working. If you remember again from the Dynamics chapter, if you have an object and it's got some holes inside like this, you need to set its dynamics tag under the collision tab. The shape of the object to be not automatic but a static mesh that tells Cinema 40 that this object has some holes inside so that the shapes in this case that small spheres can fall inside this larger one rather than bounce off the invisible cap there. So if I go and play this again, that should work now. So if I now look inside, there we go. And, of course, I can increase the friction on the spheres as well as the main sphere, the larger one, the bowl. So if I go back, select my small spheres on, go to friction on the collision and increase this so they don't slide off each other very quickly, and then I'll increase the friction on the bowl as well. And say you make this 100 and 50 so that the bowl itself is quite sticky on the small spheres also are sticky, so they won't start falling down or sliding off each other as easily. There you go, and what we can do now is to make the bold rotate once the small spears feel the ball. So let me go back. I'm an increase on my emitter, the mission. So I'm gonna go on increased the birth rate to, let's say, 1 50 on every time you make a change. It's a good idea just to go back and rewind and play it to see if you actually messed anything up. In this case, it seems like it's all working fine on, let's say, about 100 and 50 frames after the start, let's say around the bots here, getting to it now about here now, man, this fears are no longer being emitted on. They actually feel the larger sphere. I want to start rotating the bowl. If I go on selectable well, the coordinates. I'm going to rotate its pitch. Then I'll go forward by a couple of frames and then I'll change the pitch to, let's say 90 and then key frame again on Here's what we should have now. So I go and play this back. The emitted will shoot all these fears out so that the larger one is filled with small spheres. And when we reach this frame here or this key frame, I should say it's going to start rotating. And then all these small spheres are gonna fall down. So let's have a look around them out here that should start rotating and you see that small spheres are all falling down outside the ball. You may have noticed that the animation is happening a little slowly now, and it's a little intensive on the processor. That's because we have lots of problems to deal with. Or Cinema four D is having to think about all these polygons and their interactions as well . So what you can do is if I rewind is to go back to one of these tags, this simulation tags and there's an option here, which is cash, I can use this button that says Baycol on what this is going to do is to run through the simulation and then create an animation based on that. Then save that inside the Ram so that the next time you want to do a play back, it won't have to re calculate. Everything is just going to read the animation that it saved into the round. So if I know, do make all this is going to bake this simulation on, If I play this back, you see that the animation is now being read from the Ram. That's why it's not happening as lagging as it was before. And of course, if the animation is quite complex, it will still be quite slow. But it would still be easier and faster than re calculating every single one of these particles 75. MoGraph - Intro: McGrath is one of the most powerful tools in all those CMR 40. It allows you to model texture and animate objects procedurally. You'll see what that means in just a second. In essence, what more graph does is to take an object that you specify and the multiplied by as many times as you like. And those multiplied objects can then be affected by using. When I called defectors this male sound gibberish street at the moment. But by the end of this chapter, you'll be able to understand and work with more graph if I go and creates a more graph clothes. So this is here in the more graph menu. Usually you start the scene by using a cloner, although there are some other generators here which we won't get into just yet. So if I go and critic longer, this is a generator, which means I have to put something inside of it. So if I go and that's a creative cube and then place the cube inside the generator in the corner, it looks like the Cube just got elongated. But what actually happened there is that the cloner duplicated the cube twice, so we now have three cubes, and I can check that if I go to the cloner. It tells me that the count is set to three, so I know that now we have three cubes in this scene. So if I go to Cube and maybe make this a little smaller so that we may be set this size to be 45 by 45 by 45 now, I can clearly see that the Cubans been duplicated twice, So in total you had three copies. Now, if I go back to my Kloner, I can increase the count or decrease it from here. Let's say settings to 15 for now on. The reason why these cubes are actually going up on not in any other direction is because inside the cloner under the object tab, there's an option here. It says amount, and underneath that it gives us the position values. These are the position values off each clone or copy relative to the clone or the copy before itself. So this means now that on the why every cube is going to be 50 and it's higher than the queue before. So if I said this to let's say 150 you know, see that every cube is 150 units higher than the queue. Before I can click and drag missus. Well, of course. So I'm shrinking the distance between the coup's or increasing it. And if I wanted this to go backwards, let's say in that space I can set the why to be zero and then tab into the set and then said that to, let's say 50. And now you'll see the cubes are going backwards. I can do both. I can go and increased the why. And they said at the same time, if I now go and select my cube on, maybe I make my ex eyes a little wider and then my wife's eyes a little shorter like that. I cannot easily create a staircase. So if I don't go to my Kloner on may be increased account from 15 to let's say 50. And if I was amounts, we should see 50 cubes there now, as well as changing the position. You can also change this scale so I can make them wider as they go up or did rotations. I can get them to rotate per cube so I'm going to set that back as well. There's also an option here called Step Rotation. Let me scroll down so you can see this a little better. The step rotation refers to the rotation off the entire shape rather than the individual objects within the shape. So if I, for example, going increase this deputation Hey H, you see that the whole thing starts rotating so I can create a spiral staircase If I go out and maybe increase my accounts, you see that all of these cubes will follow that shape in a spiral form. Let me zoom into one of these. If you have more than one object inside the cloner, let's say, for example, we create a disc air or a troop. Maybe let's go create a tube. And if I put the tube inside the corner as well, and it's too big now, so I'm gonna make my troop a little smaller source selected troop and make this a little smaller. You see now that it will alternate between the Cuban the tube so it will create one tube, and it will start with the tube because the truth is the first object in the corner and alternate between the truth and the Cube. Now, if I go and disabled the cube, that's actually going to leave the cubes positions empty, but it will take the cubes out. Where is if I take you outside the corner? The cubes inside the Kloner will not be replaced with the tube, so it's two different things to turn this off versus to take it out. I'll put that back in. I'm going to go and delete my tube now and you see by default the color off the cubes changed as well. So instead of being gray there now white. So if I go to my Kloner, the color option is inside the transform settings here, and this is what controls the color here so I can make this any color I like. Or, of course, I can create a material and apply it to the Cube to overwrite this material that we see here that green material. So if I zoom out on, go back, this was a brief intro into the cloner object. On In the next tutorial, we'll have a look at how to change the distribution off the objects that are being cloned 76. MoGraph - Cloners: in this tutorial, we'll have a look at how to distribute the objects inside the cloner in different ways. That's going critic Cube. And then I'm gonna create a Moore graph cloner on before I create the cloner. Because the Q B selected already. If I hold on the old key, the cloner becomes the parents. I'm gonna now make my cube smaller. So I'm gonna select the cloner tea and I'll just scale this down. Well, then, go to the cloner and you see the reason why these are just going in a single direction is because the mold is set to linear. However, if I change the mode from linear to radio, you see that objects are now going around the radial array. This is very similar to the area object that we have here, but the McGrath Radial array inside the cloner is actually a lot more powerful as you'll see in the following tutorials. When you said the moment to be radio off course, you can control how many copies you have here so I can increase or decrease this. I can also control the radius off this kind of imaginary circle that the copies are being created on. And the beauty of this is that you can combine multiple corners together. What I mean by that is if I go to Margraff and then create one more corner this time again with the old key held down. So the new cloner becomes the parents off the old Kloner and instead of making these copies go up now, I can select my new Kloner rotor object and then goto why and set that 1 to 0. So they're not going up and I can increase the set. So they're going in the right direction like that. I cannot go back to my middle cloner here the 1st 1 and increased account. So I have more radial copies and I can go to my new Kloner and increased the count here. So I have more linear copies like That's if I zoom accounts. I can then of course, changed my step rotation. Let's say we had to step rotation pitch said to a different value like that. If I was amount again and I can keep doing this, I can create one more closer and place this cloner inside the new one. And now I create three copies off that cloner. I can select a new one and then go back to my cloners mode change from linear to radial again. And now he had his middle cloner, this one being copied around the radio shape because of this cloner, like an uncle to his new cloner. Change its radius as well on then I can increase or decrease the count. Of course, you see, as the amount of clones are increased in this scene, the editor feedback performance decreases. So as I use my 123 keys And if I have more clones in here so that we just go and increase the county So it's a eight or nine on maybe have a couple of more around the radial one as well, the 1st 1 So let me set this to 20 my life. I want to zoom in and zoom out and move around. You see, the playback isn't a smoother. The feedback from the interview isn't s move. In this case, just like the particles, you can select all the cloners and there's an option in the object tab called render instances. You should remember this from the particles. If I go turn us on. This is going to make everything might smother in terms of the performance off the editor. So if I now hold on three, you can see I can freely float around. I can use 12 as well to navigate inside the scene without any problems. So whenever you experienced slow feedback coming from the interview, you'll remember to turn on the Render Instances button. Let me take all of these cloners away from the scene, apart from my 1st 1 So I'll take that 1st 1 I'll tell me, and then they lead the other two on. Then I'll go right in. Eso We're back to square one now, so let me select my Kloner the other mode here, instead of radio. You can also use the grid array on. This is going to create a great off cubes now, and you control the amount of cubes you have and the distance between them by using the Count's and the size options here. So let's say, for example, I want to have five cubes on the X on their five on the why and then 500 said, if I know what these objects to be closer to each other. I just go and change the size here or to make them further away from each other or further apart from each other. I increased the size. If I set this easily 23 by three by three, I can go and create something similar to a Rubik's Cube. So if I go set this to 87 as well on the state, seven. On there we go. Wise women. You have yourself a model off the Rubik's Cube. On the other mode is the honeycomb array. So if I go to my mode, the last option here is the honeycomb array. So if I select this on instead of the Cube, actually, let's go and create an inside. So if I select the Cube and delete this and if I get my Splain, that's the inside Splain and all dango and extrude is so I'm just gonna create an extra object as well. Put the inside inside of that extrude, and then I'll put extrude inside the cloner. And if I zoom out? Yeah, and if I go to my Kloner, I can now go and change my size with and the size height so if I got increased the size with you. See, those copies are gonna be separated away from each other on the horizontal axis on the X axis on the same happens on the height as well. If I increase this now that I have this basic shape, I can dangle an increased account with on the count heights. So if I increase the with or the height you see we have a lot more copies that which make this object look like an income. 77. MoGraph - Object Mode Cloner: In the previous tutorial, we had a look at the different modes of the cloners. We had to look at the honeycomb array, the Gregory Radio and Melanie Rmartz. One that we didn't look at was the object. That's a look at that now. So I'm gonna go delete everything and then I'll create a new clone there. So I'm gonna go to mo graph cloner. Let's maybe create a sphere as well. This time I don't have this fear inside the cloner. And if I change my clothes remote from linear to object, you see that the objects this fears will disappear. The reason why that happens is that the cloner is waiting for us to tell it which object it should clone the spheres on. So we find out that Sekou, and create a larger sphere and maybe make this quite large defies amounts on If I select my Kloner, you see that if I dropped my large sphere the new one that just created inside this object field here And if I let go, the small ones are not being cloned on top of the large one. Now, this can be such a useful thing in so many different ways. So let's have a look at the different ways you can use this. So let me delete the large sphere on my small sphere. I'll make this even smaller. So let me set this Maybe to 10 units and in the cloner making sure that I still had the object mode selected. I'm gonna go and create Explain because the object can be anything could be explained as well. They say we have a texts plain and breast hate so it can go in. Let's say we go and change the sticks from text to, let's say a Jimmy and I click outside there on go back to my Kloner, drop my text as my objects in here and then I'm gonna go and increase the amount off clones that I have. So I'm gonna do that by going to count and increasing the counter. I'll make my sphere even smaller, so I'm gonna go to the sphere, make this even smaller on. I'll go back to my Kloner. If you're not getting an even distribution like we have here, the best way to fix that would be to go to distribution here, changing from counts to Even so, the copies will be distributed evenly. MSM in I can move around. So what's happening now is that sphere is being cloned on top of the text plane. And if I come down to object off the cloner and if I got to end, I can animate this to make those appear gradually like that. This opens up so many possibilities when it comes to copying objects on top of different ones by using the corners using a cloner with its mold sets. Object allows you to distribute smaller objects by using the larger ones. That's reference. 78. MoGraph - Effectors: most off more graphs. Strength comes from a set of objects called defectors. The defectors are here in the monograph menu. The first option there is a Fechter. This is a list of defectors we have, and essentially, what the effect is do is to take the clothes that you created and then affect them in a specific way by using one of these methods in order for the effect is to work, they need to be applied to a cloner. For example, If I have my cloner selected here and then if I go to monograph and then go to effect her, there's an effective here called random. So if I go and create this you see because Mike Loughner was selected, the random defector gets automatically applied to the cloner. If you don't have it selected, let me just press command said to go back a step and then the select the corner. If I now create a random affect er without selecting the corner, that's still going to be created. But nothing happens to the cloner or the individual cubes. If this has happened, you need to go to Cloner on. There's a tab here writer, then that's as defectors. You don't have to manually dragged the random effect er in here so that the cloner knows to be affected by this random effect. Er, if I go and select around them, effective now. What the random effective is doing is it's random izing the position by default off these unusual objects. And I know that by looking at the parameter off the random affect er and it's his position , and that's the only one that's turned on. But if I wanted to randomize the scale as well, for example, I can go and turn a scale on and that's that can make all of them told her or shorter again . Render me on the why I'm gonna turn off the scale and you'll also notice that there randomized but not too much so they don't go all the way out. They just get dispersed a little bit. If I increase the position values here and say instead of 50 If I said this to 500 you'll see these will be more randomized, especially on the X. If I go here so you can see there's more random ization happening on the X axis here. If I now go and increase the why as well. I'm just set this to 500 as well on the set to 500. Now this is looking really random now, so it's just more cubes knife. I was women to some random small cubes. I can also randomize the rotation as well. So if I got to rotation, turn it on, I can randomize the heading the pitch in the banking, Just random numbers, Let's say like, 90 by 1 50 my to 70. They're not being randomized on the rotation as well by this much now. The reason why the entire shape or the entire set of clones are being affected is because on the random effect, er, just like the fields that we looked at on the particles, there's an option called Full Off on that by default is set to infinite meaning that every single cube or every single clone in this case is going to be affected by the same amount. So if I go to at this shape, change it from infinite to, let's say, a box, only the clones inside the box here are gonna be affected. So if I now go and make this box larger. And as I drag this form one side to the other, you see, as the objects full inside that books they're being affected on as the box keeps on moving . So the objects are outside the books again and go back to forming that shape again. No, If I zoom out, let's make the books in its whole. Why there? So I'm gonna go click on this yellow dots here, make it a bit. Why there? I can no animate the position of this box simply to do this. So as soon as they hit the box that just go to the top for you to make sure that we're not making a mistake. With the position there, I can see it from the front view as well. I think we will find in the front few. I'll just move this on. You can see the result in the perspective. You so I'm gonna go click here. And as I drag this you said that the letters are being kind of broken apart on my one like that. And as I pushed his back out, they will go back to formed actual shape. It looks like We have an issue here with the text. So we see the texts plan actually can see the same glitch here as well. Let me see what's happening there. We can fix that. It was just a zoom level issues. So as soon as we zoomed in that disappeared. So if I now go and maximize my perspective, you I can then just change the random defectors coordinates exposition. So as I increase or decrease this look what happens to the text there or the individual cubes that make the text. I'm gonna zoom back out. Let me show you a different example. So I'm gonna go and delete everything here, and I'm gonna start with the Cube from scratch. And then I'll create a Moore graph cloner again. I don't put the cube inside the cloner on them. Make the cube smaller, so I'm gonna go to object. That's a reset. Is 2 45 by 45 by 45 on on the cloner are changed. Amount from India to grid on the fly centred us again. I'll set the count x two, Let's say 25 on Count y to be one on Kant said to 25 is well and then change the size X first to about there. So maybe let's say we set this toe 11 50 on, then size. Why doesn't matter? Because we just have one copy on the why anyway, So I can sit history, whatever. And then size said, although the same 11 50. So basically we just created a floor made out of cubes. So if I know movin like that, if I make sure my clothes was selected and then go to more graph effect, er and I'll apply a plane effect announced or plain, as in a simple defector. So if I go create this, you see that all of these cubes shift up. So if I zoom out on, go down like that, you see there no longer touching the ground plane. That's because the plan effect er under the parameter has an option for position and that's it. 200 units by default. So I'm gonna set this back to, let's say, zero. So none of those cubes are being lifted up now, and I can move the whole thing by going to the X or the Y or Zed and just click and drag this and it doesn't seem very interesting until you turn to fall off toe again, a shaped different than infinite. So let's say we stick with a Spheeris time. If I now go to parameter and increase the why only the cubes that are inside that sphere are going to start getting affected. If I now make my spear larger. And the reason why the top looks like a flat top is because on the plane under the full off , there's a full of option, so that controls the distance between the red sphere here and the yellow sphere. We looked at its on the previous videos, So this was the buffer area, If you like, for everything inside the red area is going to be affected by 100%. Nothing outside the yellow area is going to be affected, so it then creates a gradual shift from being affected. So not being affected. Going through the red to the yellow one. I'm gonna go to the full off. As I increased this. It's making the red ones smaller, which means that the full off is higher, which is similar to a feather. If you're used to using photo shop. So it's like a soft brush or a feathered selection in for a shop. And if I now click and drag us around, you see only the cubes that are inside that sphere are being affected. Now the reason why they're only going up and not down or anywhere else is because on the plane effect er under the parameter tub, we only had the position turned on on on Lee. Why is different than zero? So if I go and turn on the rotation as well on, let's say we change their heading as well as they go up, they also change their headings. So if I not pushes back, you see that objects that are inside that sphere start rotating as well. Let me zoom in so we can see this a little better. And as they leave this fear, they go back to being how they were before. If I want them to do a full rotation so I can go and change this to 3 60 as soon as they go inside the sphere, they'll start rotating and they do a complete rotation. Then they go back down. I'm gonna lower this number down. So that's a 90. And I wouldn't change a pitcher's well to 90. I'm gonna go back. And in fact, I'm gonna animate the position off the plane. Defector. So if I got to hear, set that there at the beginning on the first frame, I'm gonna go to plane coordinates and all Key frame the X I'll then go forward to the day 75 on them. Push this over that state about there. No key. Frame this again. And if I now play it, you see that this is the animation and I'm gonna pose this on. I want to show you one more effect. Er, that's usually used to affect the existing defectors. The affected I'm talking about is called the delay affect. Er so inside the McGrath menu under affect er, this is the affected. I'm talking about the delay. If I go create this defector making sure, of course Mike Loman object was selected. Just a double check. I can select the cloner defectors my connection to see that the delay wasn't applied here because my clothes must have bean de selected so that we just go and add this delay on the plane as well if I now go back to the beginning and play, and what the delay affected does is to make the objects that are outside the plane defectors area to go back to their original shapes or positions slightly later than they were before. So let's play this one more time to see if you can actually see this. And if I pause it somewhere here, these clones here or these cubes are not fully reformed or restored. If you like back to the original shapes, let's exaggerate the sedative it so we can see this little clearly. So if I go to delay on inside the effective tub, if I increase the strength of this to be about 80% or so, if I don't go back and play it, you see these cubes, which are outside the sphere, which is the plaintiff Victor's area are taking their time to go back to their original shapes or positions. Now, the delay effect er has one more more that won't assure you, and that's called this spring. So in here, if I changes to spring, what this does is it created recoil or a follow through effect. So if I go back and play this again. You see, now that the cubes are going to create a recoil effect so they're not kind of falling down in place. There are actually creating this way. Shape on that depends on the strength as well as the height off the plane effect is position parameter. So if I increase the strength off, this really affect a little more and then go back and play again, you see the way it is gonna be more dynamic as well as going to the plaintiff Victor and then changing its parameter position. Why? To let's say 500. And if I play this one back now, the cubes are gonna, of course, shoot much higher. And as a result, when they come down, that's gonna create a much bigger wave. So if I go play it now, you see they go higher up and then fall down much faster on lower down as well. We can know where and changes shape off the plane, defectors or, if you said it, the plane effect er and then go to full off. I can go to the shape changing from a sphere. Let's say to a box again. And then if I play this back, it's going to make it look as if they're coming out of that box like that on. Finally, I'm going to update the final key frame position off this box. So I'm gonna go Who might play it here with the shift key held down. So there's going toe snap the play head to that key frame. And then if I go push this out and then goes accordance again And then if I read, he framed this on, then if I play it, the cubicle traveled through the entire grid now, so if you play, this is animation will gets 79. MoGraph - Using Effectors with Fields: if you are using release 20 or later the more graph of Victor's and in particular, the full of taps off, the more graph of vectors are gonna work a little differently. I'm sure what I mean. Here I have a simple cloner with a Cuban site and I said cloner to be a good array on duplicated that cube 25 times on the X and 25 times on the set. And I'm going back to the cloner a simple, plain effect, er so I'll select it angle to Margraff effect er plane. And right now everything jumps up up until release 20. There was a drop down menu here, very adoptions, like infinite linear box, sphere and song. But on this version, they've updated this so that the full off only works with fields. Now, this creates all sorts of different possibilities because you can combine fields together and it can create some really interesting results. So let me show you a couple of examples here. I'm gonna go to full off and then come down here to it says spherical, because that was the last type of field I used. I'm gonna add a box field that's what it's gonna start like. And right now, everything turns green again. This is a new future. It didn't used to happen before. Let me now go to the books field here so I can see the settings off it. And I can control the size of it here like that. And I can also control its coordinates like that. I can move this around on the reason why these all turn green and this is gonna be a random color. So every time you do this, it's going to be a different color. But the reason why it turns green is because here where it says calorie MMA, I have a green color here. I can change this to whatever I like. If you don't want this to be affected at all, you go to color mode, change it from color to nori map, so it's no longer going to affect the color. I'm gonna need this on so we can see what's happening there. A zealous having a box field here. I can also go to plane on. Add one more field. I can go to a box field, click and hold it down. And that's a at a spherical field. I can push this that way and then I can add one more. And that's if I add a cylindrical field here. I can push that that way like that. So now, within the same effect, er the plain effect er or any other effective, for that matter, we can have multiple fields as fall offs. 80. Cameras - Intro: In Cinema 40. There are two types of different cameras. The 1st 1 is the editor camera, and that's the one we have been using so far. So every time you use the 12 or three keys to move around the scene to fly around and navigate, you are using. In fact, the editor camera and the 2nd 1 is called the camera object. The camera object has lots of advantages over the editor camera, most important of which is that it can be animated on in order to create a camera, you just go and click on this button here at the top. But before you create the camera, it's important to position your editor camera. For example, if I want my new camera, the one that I'll be creating in a second to be closer to the saddle than it is to anything else. I've just come up here with my editor camera, and then I would not create the camera, and you see, as soon as I zoom back out, my camera gets created in that position, so that's closer to the settlement. If I go out to a wider angle like this, then if I create a camera and there's amount. You see that this camera is now created at that location. So it is very important to position your editor camera properly before you create an actual camera object. Let me read one of these cameras. Let's say we get the 1st 1 the one near the saddle. Now, as soon as you create a camera, you actually want to be looking at the scene through the perspective off that camera, and you do that by either double clicking on the icon off the camera. Or you could have clicked on this Crossair here. So let me click on this cross there so it goes back to black again. So if you're not inside the camera, the cross, their here will be black, and as soon as you click on it, you'll fly into the cameras perspective. And now you're looking at the scene through the perspective off the camera. Now it's important to keep this in mind if you don't come out of the camera's perspective. So if you're not looking at the scene through the editor camera every time you use the 12 or three keys, you are actually changing the position or orientation off the camera. Not that it's a camera, but the actual camera object. So keep this in mind and keep an eye on this all the time when you have a camera. So let me zoom back out as I move my camera around. Now I am moving editor camera. If I go in, it's a ago and zoom into the saddle that if I come back out, you see that my actual camera is now much closer to the saddle because I was looking at the scene through the perspective, off the camera as I was moving it. So keep an eye on that. I'm gonna zoom back out here on that, maybe move around like this also, if you're looking at the seen through a camera when used the one and two keys, they're gonna behave exactly the same as they did before with the editor camera. But the three key is going to behave a little differently if you hold down three on click on an object. Let's say this saddle here. Then, if you move this, it's actually changing the camera's position as well as its rotation, so it's kind of orbiting around the saddle. But if you don't click on a specific object on hold on the three key and then click anywhere empty, you're actually just going to change the orientation or the rotation off the camera. So with the camera selected and you're looking at the scene through the perspective of the camera, if you hold on three and click on an object, you're gonna fly the camera around if you click somewhere else, but not on an object on that hold on three. The cameras head will be changing and nothing else so the camera will not be flying around . Only the head of the camera is moving around Now. That's another thing to keep in mind when you're working with cameras holding down three, then clicking and driving is going to behave differently, depending on whether or not you have an object underneath your mouse. 81. Cameras - Animating Cameras: animating cameras in cinema 40 can be quite straightforward, or it can be quite complex, depending on the type of animation you create. Let's start with a simple one. So if I had my camera here and if I look through the perspective of the camera so I'm inside the camera now, let me just check when the bike starts moving, actually, so if I select the bike, I can see that it starts moving on the 10th frame. So I'm gonna move my play head there with the shift key so it snaps. I'll then select my camera and also key frame the camera's position on the rotation. So for that, I'm going to turn off the scale property here as well as the parameter property. So that means now in a press F nine or click on this key button here that's going to record the position and the rotation of my camera. If I do that and if I don't take my bike again to find out when it stops moving, if I click and drag this, that's on 2 50 All the insect, my camera and then zoom back out and maybe find that bike again there it is. So if I hold on one, bring this closer to us here like that. If I go and key, frame my camera again, you see if I play this back now from the beginning, it's going to make the camera move from left to right to follow the bike as it travels. Let's now go and change the final position off the camera. So I'm gonna go in to my key frame by holding the shift, all them with my camera around the bike, maybe around the bar here and zoom into the spotlight. Maybe there on the three key frame it. And if I rewind on play again, you see as the camera moves from left to right to follow the bike, it also flies around so that it ends up in front of the bike, right. A spotlight is, then I'll stop the playback. If I come out of the camera's perspective, I can actually see the path that the cameras following when it follows the bike. If I go here and play it, have a look. This is the path that the camera follows as it goes from point A to point B. I don't know if you noticed, but if you look at the path that the camera is following, it isn't quite straight. In the next tutorial, we'll have a look at creating, explain and then using that splint as the path off the camera. 82. Cameras - Align to Spline: in this tutorial. We'll look at creating, explain, and they're sending a camera on top off this plane so that displaying can be used as the motion path off the camera. Let's have a look at how that's them. So first off, I'm gonna come out of the camera by clicking on the button on. I'm gonna start creating a new camera from scratch so it doesn't really matter where this new camera is because we're gonna create explain to be used as the path. So let's go create a camera anywhere. So that's called his new camera Splain camera on the old one on renames to be tracking camp . I want the spline camera to follow a specific path. So let's go and draw that path. Let me go to my top view in here on Get my pencil. I'll set this to be in the beast blind mode. Let me zoom out a little bit. I'm gonna go android Curvy path. So I'm gonna go click here and then maybe click and then click and then click here and then here maybe, and I press escape to come out of this and then I'll go to my side of you that say the left of you here. And if I get my mortal and then zoom out a little more, I can now select these points and then move them up and down so that we create a slightly different variation on the shape. So it goes down on may be this one goes up. In fact, I'm gonna change this so that none of these points go below the floor in case we need to create a floor on the cameras. Don't go through the floors. So that's the final one. I'm gonna lift this up as well like that. If I go back to my top view, let's say I want to take the entire path. So if I go to my model tour here and then get my rotate tool, I can rotate this on the Y axis like that's maybe a little bit, not too much. And then I'll go to my perspective, you. And if I zoom out, I should be able to see my first camera, the tracking camp that's moving. So if I go into it, just double check that it's still working, so that's moving with the bike. That's great. I'll go back and then come back out on display in camera. I want this one to follow that path. I'm gonna go right click on the splint camera and then go to simmer 40 tags and I'll choose a line display. This tag allows you to put an object onto this plane so I can move it from the beginning of the spine to the end, or vice versa. So I now need to put this plane inside the supplying partier off the tag. So if I select this plane, just drag it in here. You see right away the camera will jump to the beginning off that split. So you see the cameras there on. All I have to do now is to animate the position of the camera on this alliance, display NTAC so that tax elected if you come down to position, you can just click and animate this and you see the camera will be following that path exactly as you do it. So let's go and key frame this. So I'm gonna go to frame 10 again. That's when the bike starts moving. So you just make this precise so cool and said Mr frame. 10 key fame, the position at 0%. I've angle to frame to 50 and then change this to 100%. And then key. Frame this again. If I now look at the scene through the cameras perspective and if I rewind and then play, you see the camera will be following that path exactly. But the problem, of course, here is that the camera is looking away from the bike for most part. So I'm going to go oppose this and then go back to the beginning and then we have one more tag that will look at, and that's called the target tack. So if you go right click on the camera not to sit in my 40 tags right towards the bottom, it's his target. If I go create this and then asks you all right, what is the target now? I'm gonna make my bike the target. So this camera is always looking at the bike. Now if I go back and play it again now, even as the cameras kind of passing through the bike, the bike's always going to be in the center off my view. There we go. At that point right in the middle somewhere here. The camera was quite close to the tire there that's actually looking. Not too bad. But let's say you didn't want this. Well, you can simply go and adjust this plane. So let me come out of the camera on Select my Splain on, Go to my move tool and go and select the point on the split. I can't see the points properly now so they can go to my point tour here. There we go. I can lift that point up on maybe more it back a bit of it. So it's away from the bike. I cannot go into the camera and you see it's no longer is closer that tire as it was before . So if I go back and play again, you see as the cameras flying through, it's not going to get that close to the bike as it was before. Using the alliance s plan tag together with the target tag, you can make a camera jump on tres plein and then fly through the scene using that spine, all the while looking at a particular object that you set as the target inside the time attack 83. Cameras - Stage Object: When you have multiple cameras inside the same scene and you want to cut back and forth between those cameras, you use a special object called the stage object. The stage object sits here next to the camera inside the floor. So if I click and hold it down on the floor, we get the stage object here, and this will allow us to switch cameras on the fly. Let's say, for example, I want to see the scene through the perspective off the tracking camp. Initially, I'm gonna go drop the tracking camp inside the camera field here. And that's which is my view to the tracking can view, Let's say, for about 15 or 20 frames after the animation starts to its start on frame. 10 let's say maybe a little more. Actually, let's go to maybe frame 100. That's at that point. I want to switch my camera from the tracking camp to displaying camp. That's actually really easy to do. All I have to do is to key frame the camera and then go forward by one frame and then drop my other camera displaying camera in this field and then key frame again and that's all we have to do. If I know, go and play this. You see the camera will switch on, get to these key frames. So if I go and play it first I see the tracking him, then Risi displaying camp. At that point I can switch again. So if I go and create one more key frame here and then go forward again and thats which this back to my tracking camp and then create one more key frame, then if I play it from the beginning, you see will switch to camera twice. So it goes from here to display in camp on back to my tracking camp. At that point, using the stage object, you can easily cut from one camera to another. 84. Render Settings - Global Illumination: Before we start talking about the render sittings, it would make sense to talk about some effects that will make the renders look more realistic. In particular, we will be talking about the global illumination and the ambient occlusion. Here we have a simple scene, that bed and two bedside tables on. Also, I've created a couple of cameras so we can easily switch back and forth between these different angles. So if I go out to my wide angle that this camera, I'm seeing the scene through now and I am I right view and then the left of you and then a top view as well I'll switch back to my wide angle. You'll also see that I've created some walls here. This basically was a cube and I made the Cube edita ble on. Before I explain to you how the global nation works, I'm gonna go and render the scene using the shift. Our shortcut. This is going to render it to the picture of you are I'm just gonna press shift our so that the picture viewer comes up on the whole scene gets rendered. I'll also render the same scene from a slightly different angle that you maybe go up to my top view and render it from here as well. So a shift, our and then finally all rendered its from the side view as well. So let me close this and then go to my right view, maybe, and then render it from here. Shift far again. The reason why we do shift our instead of controller is so difficult Randy's to the picture viewer, which means that they will be saved inside the history states here. Which also means that we can come back and revisit these states to compare and contrast when the current versions look like toe what they were like initially, I'm not gonna go and close my picture viewer, and I'm gonna switch back to my wide angle and I'll create a couple of materials and I'll apply them to the walls here. So let me just go and double click here on. That's going to be called Red and I'll change the color to be read as well. So something like that on, I'll apply it to the left wall and I'm gonna create a new material and then call that one blue on. Make that blue as well. I'm gonna go pick it Blue color, maybe something like this, and then apply this to the rightful on that. I'm gonna create a new material on call this white and I'm not gonna change the color here is gonna apply it to the back wall on the floor on maybe even to the ceiling. So let me come out with this camera first. Men's amount. I can apply this to the ceiling as well. Then I'll go back into my wide angle. Let's now they're renders all press shift or again. And once this is done, I'm gonna close it and go to my top view on Render it from here as well. Shift are on then Finally, once this is done, I'm going to render it from the right of you as well. So I close this and go to my right view, and I'll render it from here as well. You see, adding some colors to the scene didn't really make much difference in the render times. So if I go to my render settings here, the 1st 1 the first frame took about nine seconds surrender The second set the first frame off that where we had the colors. So this one versus this one, this one took about nine seconds and this one about eight seconds. And I would say probably these two would be the same. So this could be something to do with the processing off the computer at that given time. If I now go to my 2nd 1 this was about 21 seconds on. This is again about 20 seconds. And the final one took about 17 seconds. And that's exactly the same as what I have here is, well, 17 seconds. So here I just wanted to show you that adding more colors doesn't necessarily make your renders slower. Some other materials, like reflection, refraction and so on. They will make the renders slower, but not just changing the colors. Let me know. Explain to you what the global of nation is about. Let's close this in cinema 40 lights by default do not bounce around. What that means is in this scene, for example, when you had the left full colored red on the right, one colored blue. Normally, if this was a real seen, the light would bounce off those walls, and it would actually eliminate scene. With those colors embedded, for example, the left side of the bed would take the red tentative it's on. Then the right side of the bed would actually show us the blue tins and so on. In cinema 40 this does not happen by default. This is one of the reasons why the scenes look a little unrealistic in cinema 40 by default . And, of course, the main reason behind this, as you might have guessed, is to reduce the render times to simulate the light. Bouncing around the scene is an intensive task for the computer. That's why that function is turned off by default. And that is what we mean by global illumination. To turn the global nation on. All we have to do is to go to Iran their settings, which we will talk more about in detail later on on the render settings are here for you. Click on this clapper board with a little coke real on the side, or you press control. Be or command be if you're on the Mac and this brings up your render settings. As I said, we will talk more about these in the future. Tutorials But for now, let's go down to the effect bottom here in the bottom left corner and then click and we'll just go on. Add the global illumination effect. I'm not gonna change any of these settings now. I'll just come out and simply close this and then I'll go to my wide angle and I'll re render this. I'm gonna press shift are on as its rendering. Already, you're gonna start seeing something different. You said that the render scene looks a little different. Actually, it's creating these different sample points. This is called the Radiance Cash Pre Pass and want it calculated these. It's then going to start rendering it, and you'll see that the color will start leading from the left wall to the bed, on the left and from the right of all to the same bed on the right inside right away. You may have noticed that the entire scene is looking a little brighter than it was before , And if I compare this to what we had before so they could go to my initial render settings render here. So this is the very 1st 1 This is what we had before. Let's zoom in, so you can see what's happening. So I'm gonna use to and assume in this is what we had before. And then when we had the colors on the walls, this is what it was like. Let's zoom in a bit more. And then we turned a global elimination. This is what we ended up with. You can see that the red off the wall here is actually coming in on actually making this part of the bed little more red as well. Same thing happens here with this time, the blue color. So if I now go back to the one without the global indignation, this was the one. And then go to the same one with the global domination, you can see that the right side of the scene looks a lot more blue than the left side. Thus let's have a look at what this looks like on the other side. So I'm gonna close this and let's go to the right of you. And if I rented this, let me zoom out. One downside to the global nation, of course, is that it takes quite a long time to Rendah. You can see that my first render took about nine seconds in total. On this one we just did took about 53 seconds. So that's quite a big increase and jump on the render time. Let's see how long this one takes from the right to you. You see that? The 1st 1 took about 17 seconds, and then this one is already up to about 45 46 seconds and still counting. That's how long this one takes. Now on. Once it's done, the first pass, it starts creating the render here. So this is taking almost a minute and 1/2 already. You can see this took almost two minutes to render versus the previous one, which was only 17 seconds. But this is the difference in quality. Let me zoom in here. This is the latest one with the global illumination on. This is the previous one without the global domination. Now the difference is great. It's a huge difference. The dark hair is here. You see our old black. There's no detail at all with the global animation. We have all the detail and in fact, it takes the color off the right world as well. Because the light is bouncing off the right wall to eliminate these parts of the scene. That's amount. And now let's have a look at these sittings off the global illumination. So let me go close this and press command B to bring up the sittings. I'm going to move this out of the way so we can see what's happening in the global domination. Under the general tab, you had two options. One is called the Primary Method. The other one is called the second You Method. These refer to what happens to the light when the light bounces off the first time. That's the primary method, and the second dramatic is what happens to the lights for the consecutive bounces. So let's first go to primary method, and the first option here we have is a radiance. Cash. If you click on this, the only other option here that you'll see is the crazy Montecarlo. There's another one here, down at the bottom that says Iranians cash legacy. This is for the older version to keep this backwards compatible, so we'll ignore this. So we have two options. One is the radiance cash. The other one is the crazy Montecarlo. Now Iranians. Cash is going to be fine for most cases, but especially when you want to do animations. You want to switch back to Crazy Montecarlo to create some flicker free better results with one downside that's going to take a lot longer. Although the results are gonna look much better, the render times are gonna increase a lot. There's actually some quite complex science behind this, but for now, it's enough to know that Iranians cash is going to be enough for most of the steel renders that you do. And the crazy Montecarlo is going to be relevant when you do animation so that this creates flicker free animations And also just keep in mind that the higher the quality like the crazy Montecarlo the longer the much longer it will take to render So I only this on the radiance cash for now and then the second you're method, I will also set this to radiance cash and look what happens now when we render this with second dramatic turned to Iranians cash. So let me close this and then from the right of you again I'm going to render So I'm gonna press shift our you may notice that the little dots here that we're getting the samples are actually slightly brighter than what we had before. That's because the light is bouncing off twice, so the whole scene is a little bit brighter. And what that means is that light is bouncing off the rightful initially onto the bed and from the bed, it bounces back off towards right wall as well as the floor and in all directions. That's why the entire scene should be a little bit brighter. With the second method turned on, I'm going to speak this part of the video up to save you some time. You can see that this renders finished now, and it almost took about 2.5 minutes compared to the last one, which was just under two minutes. And here's the difference. This one is gonna be slightly darker so that the colors aren't as blended as the next one, which is here on this one you can see is much brighter so that the colors are blending much more because the light is bouncing off not just once, but the second time as well. So here's before on. Here's After we can actually see some red on this table as well. Here you can see how the red is bouncing off the wall there onto this table. And if I go back to the very early ones that say here, that's a huge difference going from this render to this render. Now, let's keep on working on the settings a little bit more. So let me close this picture of your And if I go back to my render sittings control, be the diffused up here your first, the how many times the light bounces around. So in real life, this is an infinite amount of number. And in here the Mexican goto is eight. So if I just pumped, it's all the way up to eight and then render this one more time. If I close this and render this one more time now, this is going to take even longer because the light needs to bounce off more times than it did before. But it should make things much brighter and a lot more realistic as well. Again, I'm gonna speed up this part of the video as well, so we don't have to sit there and watch this into the render is complete. This renders complete as well. And it took about three minutes and 11 seconds. Let's compare this to what we had before to the previous one. So this is the one very had to defuse. Death said too true. And this is the current one. But it defused that set to eight. You can see the difference already. The entire scene is much brighter than what we had before, and also we have much better color blending. So if you look at the red coming from this wall, it actually reaches old way out towards this side of the bed. And similarly, the blue coming from the right inside of all is reaching out all the way towards about here . So this is before this is after again. So far, I've been switching back and forth between different states by literally just clicking on the names. But there's a better way of doing that. Let's say, for example, I want to take my previous render this one with the global nation turned off, and I'm gonna set this as my estate A So this is the object A. Now, if I come down to here to the last one and selected, and I can set this as object. Be that one long. Give me this line here, which means I can click and drag this line around to compare the two different views. So the top one is the previous one on the bottom. One is the new one, and once you do that, you can then stop these around so it can make this go up and down like that. And I can click on the second button to show me just the differences between the two states . So if I click here, I only see the differences between the two states. And if I click on this third button, it's going to make the line vertical instead of horizontal so that I see the two states on left and the right insight to turn the A B comparison off. I'll just go and click on this button, and it goes back to where it was initially. Now, this last one took about three minutes and 11 seconds, and you may be saying to yourself, Well, that's fine. Instead of waiting 20 minutes, I'll just wait over three minutes, and that's fine. And if you're going to render a single frame. You may be right. Waiting an extra health in minutes will probably not do too much harm. But imagine if you're gonna render This is an animation. In that case, every single second will count because when you're rendering and animation, you're gonna render usually hundreds of frames, if not thousands, and there every single second will count. So the difference between 2.5 minutes and three minutes is going to be massive. When you are rendering a couple of 100 or 1000 frames from the animation, The last option I want to show you in the global elimination is the gamma option. So if I go back to my render settings control be the gamma. Here is the overall brightness of the scene after it's being rendered. This is very similar to using the levels adjustment in for a shop and then dragging the middle slider in the levels adjustment towards left or towards right. In a nutshell. If you increase this number, let's say instead of one. If I said it's the 1.5, this is going to make the entire scene much brighter without actually changing the dispersion off the lights. And then if I decreases to be lower than one, let's say I said Is 20.7? It's going to lead the dispersion off the lights again the same, but it's going to make the overall seen much darker so you can control the overall rights of the scene by tweaking the gamma property. 85. Render Settings - Global Illumination with Luminance Channel: as well as allowing the lights to bounce around in this scene. The other thing that the global nation that you do is to use an object as the light source . What I mean by that is this. If I go and turn on my light here and making sure I still have my global illumination turned on, I do. If I close this, if I render this simply, I'm going to get nothing. You see this takes a while on. Eventually you will give me a render that's just going to be a pitch black. That's because the global nation relies on either having an actual light source in this scene or having an object with a material with the luminous channel turned on. So let's not wait for this. I'm gonna go and press escape here, and it lost me. If I'm sure. Yes, I am sure. And then I'll close this. So if you don't have an actual light, you need to have an object with the luminous channel turned on. So I've got an object here. I called it Wall Lights. It's a massive objects or it's definite nothing proportion with the rest of the scene but hopefully that will help me explain to you what the global admission does on the materials . So if I now go to my light material here, that's the material I applied to that part of the lights. So if I select this and in here, just more this out of the way in here If I go and turn on the luminous channel and by default, it said Toe white and I want to leave it at white if I close this if I now rendered this but just so that we can save on the render times, I'm going to reduce the diffuse depth. So I'm gonna go press control, be or command be. And I said the diffuse depth to Let's say to in fact, let's go and turn us off. I'm gonna go to second method and set this two month. We can come back and turn it on later on. I'll come out of this and I'm just gonna go press shift our and you'll see now that the only light source in this scene is going to be delight. That's on the left hand side wall. Again. I'm going to speed this up so you don't have to sit there and watch the render as it takes place. This render finished a swell, and I can see that the light itself isn't looking quite smooth here. That's usually because the zoom level isn't set to 100% so they're just going to sit my zoom level here to exactly one on the percent. So if I go and type in on the percent there, there you go. So that's looking much better now. But the render itself, you see, took about five minutes or just under five minutes. That's quite a long time for this render. And hopefully you can see now that the only light source in this scene is this light on the left. And it's bright like this because we had the luminous channel turned on for the material off this object to make the entire scene a bit brighter. What I'm going to do is I'm going to increase the luminous channel intensity or the strength or the brightness, and I'll do that by going to my material. Let's go get off this first. I'll go to my light material, don't go to ruminants, and I'll increase its brightness from 100% let's say 350% and then I'm gonna go one last render and all again speed this video up so we don't have to sit there and watch the whole thing for about 56 minutes. So here we go. Shift are on. I'll see you wants to render finishes. This renders just finished a swell, and it took just about the same amount of time, or maybe 45 seconds longer as doing before. So it's about four minutes and 49 seconds long, and it is looking much brighter than the previous one so far, competitors, you'll see. But now, this time you hear these funny, weird blotches on the wall. That's because the quality off the global nation on that is inside my render settings control be if you go to global elimination under the general tab, where two samples If you change this for medium to high, that's going to reduce or remove altogether. These funny blotches here on the wall and it should do the trick. But if it doesn't do it, what you can do also is to go to the samples option and click on this time and triangle here and then changes from high to custom sample count and you increase this. Sometimes this even goes to four digit numbers. The higher this is, the better the quality off the global in nation. But the much longer it will take to render. So if you're getting these funny results like this spots here, you can increase the number that's going to work, but it's going to take much, much longer to Rendah. 86. Render Settings - Ambient Occlusion: together with global in nation use ambient occlusion to help the realism of the scenes. Ambient occlusion is perhaps best understood if you actually look at some real life examples. For example, if you take your hand and palm down, place it on the desk that you're using right now. And if you check the contact points between the hand on the desk, there's gonna be slightly darker area there. But he likes come quite. Getting. That area is simulated in cinema 40 by using ambient occlusion or take the room you're in right now. Have a look at one of the walls and follow it until you reach a corner. And if you look at the corner there where the two walls meet, there's gonna be a slightly darker shade of color there where again, the light calm quite getting, and this can be applied to pretty much anything. So every time you have an object in real life, and that's touching another object. For example, if you look at the keyboard in front off you, or if you look at a book on the shelf, write a book on the shelf, make contact. There's gonna be a black shade. There on that shade is the ambient occlusion. Let's have a look at how it works in cinema 40. So in this scene, let me do a quick run. The first in this scene. I just that one floor that's effective and it's a bit blurry. And just some text, nothing exciting. I don't have anything else turned on more global domination. No, I mean seclusion. So first I'm going to go and turn the global elimination on. So I'm gonna press command be I don't go to effects and add the global domination here, and I'll just come out of this and they render shift our again. This, of course, is going to take much longer than it did before. But of course, the results should be much better as well. So here we go. So the colors are a lot more blended in. Although I don't have too much color on the floor if I go and check the previous version, this is before this is after. You can see that the entire things a little bit brighter on these areas that were quite dark initially annulled it up. You can see here, let me now added the ambient occlusion to the equation here. So let me just go a press command to be again and then go to effect and then add the ambient occlusion as well. No, cause this and render again shift our. And once this is done, you'll see that the object the text is going to have a lot more contrast, especially on the inside, where there are lots of intersections and as well as having contrast on the intersection between the floor and the text, let me go back to my previous example. So this was the one with the global domination only, and this is the addition off them in seclusion. So let me zoom out so you can see what's happening. Clearly, this is without the ambient occlusion, and this is with them being top vision. So this will help ground objects by a great deal. If you think that these lines the dark lines are reaching out to far well, you can change that. So let me go back to my render settings Control be the maximum ray. Lengthier is half far out. Those black shades reach. So if I drop this down from 100 let's say 25 and then render again shift our you'll see this time that darker shades are going to extend as far as they did before. So let's get this another 10 seconds or so until the render finishes. So this is how you dial down the intensity off the ambient occlusion. This isn't making anything lighter per se. It's just telling. Some are 40 that the darker shades or the areas that are created because of the ambient occlusion shouldn't extend this far. So if I go preview this, I'll go back to the previous one here. This is before this is after. So let's zoom into the floor here so we can see what's happening on this is before this is after. So the black areas, the shades aren't extending as far as they did before. And this, of course, is the one with nothing applied. No global elimination, no ambient occlusion. And this one here is the one with global nation. And that means exclusion. You can hopefully see the difference between the two. Finally, if you want to make the ambient occlusion a little bit darker, let's go back control. Be command be You can simply increase the contrast here. So if I said it's too, let's say 25% on while we're here. This is how we change the quality as well. If you remember the shadows on the lights, you had the accuracy, the minimum and the maximum samples on the shadows. And you have the exact same controls here as well. So if the dark areas caused by damage in seclusion are looking a little bit too grainy, you can increase these numbers so that they look smoother. So I'll leave that Krusee said to 50% up the minimum samples to be, let's say 50. And if you remember from the shadows off the lights, the maximum samples should usually be four times larger than the minimum samples. So if I said this to 200 and enter and if I render this one now, this should take a little longer than 35 seconds. But the quality should be much better. And because I increase the contrast as well, the ambient occlusion areas are gonna be darker. This renders completed as well. Now you can see that added an extra six seconds to the Renda. And the difference is this. If I go back to the previous one. This is before this is after, so you can see because of the contrast. It's quite dark and you also have less grain here. So this is the previous one. Mary has some great areas on. This is the current one that just switch back to the current one. This is anyone with finer detail on the grain area, so it's not as grainy off course. This is still a little bit grainy, but it can increase that number even more so. If I go back to my render settings, I can increase these numbers even more to create a better results with almost no grain. But of course, that's going to take much longer to Rendah. So to summarize, ambient occlusion, together with the global automation is going to make your scenes a lot more realistic with the expense off longer render times 87. Render Settings - Rendering a Scene: when your work is done in, some are 40. You'll usually need to save this file out in the four months that doesn't require cinema 40 to be installed on a computer to be previewed. For example, If you want to take a still image from this on, let's say print it or put it on social media. You'll need to save this scene out as a still image, and that could be a J peg. It could be a tiff. PNG. Whatever you need that to be, you can choose that at the very end. And let's say, for example, you want this to be an animation. You can also save out something like a quick time file or a Nimitz sequence or an MP four file. It's all controlled inside the render settings. The render settings, if you recall, is up here or its control or command be, and this will be not the render settings dialog box. Let me put this in the middle somewhere here, and the first option you need to look at is the output they are put will control the things like the size of the image, the amount of frames that are being rendered and saw. So if I go to the right inside here, which is with Let's Say you want this to be full HD, so I'm gonna go assets to be 1920 by 10 80 in pixels. Off course, we have some presets as well. So if you go and click on this arrow here, you could pick one of these presets. Let's say, for example, you want this to be printed. I can go to print landscape and I considers to be in a four size and song on. If you're going to use this on a film or video project, you can go to film and video and shoes. That's a HD TV 10 80 25. That's essentially the two figures are used here in 1920 by 10 18 pixels. Down here you have resolution, which is only relevant if you're going to print so it can increase or decrease your resolution. The higher the resolution, the better the prince quality in shorts and then down here you have the film aspect and the pixel aspect, and the frame rate film aspect is basically dividing the without the frame to the height of the frame and you get a ratio on that. Your film aspect on the pixel aspect usually refers to the shape of the pixels themselves, so they should be most of the Times Square. So I'm gonna need to set to one on the frame rate. We talked about this in animation that the frame rate is the amount of frames you have per second. This should match the frame rate off the project settings. They're two different things. You can set the frame rate off the project settings to be 30 but the frame rate of the render settings to be 25 that's going to give you some unwanted results. So you want to make sure that the frame rate of the project matches the frame rate of the render settings, so my project will set to 25 frames a second, so I'll leave my frame rate here to be 25 as well. And down here it asks us whether we want to export a single frame. That's the current frame option, or we can export all of the frames that's going to export the entire timeline, or you can export the preview range that is if you said the preview range in advance. So it was here. If you remember, this is the preview range area Oregon one select manual and that's specified. Which frames you want to export? Exactly. If you're not using interlaced footage, you don't need to worry about this last option Here. It's his fields interlaced foot, which is used by broadcasters. So I'm not gonna get into that now. But if you rising into lace footage, this is very change of fields from on because I just want to export a single frame. I'm gonna set my frame range actually to current frame. And then here, if I have an animation, I can actually move. The play had anywhere. I like an eel exports exact frame where my players that next up, I'm gonna go to the save many here and then on the right inside, it will show me that irregular image will be saved. That's what I want. And then I'll tell it where to save it. So I'm gonna go here, which is file, and I'll click on this button on. I'll save it in here so I'll just go to savers. Give us a name. Let's say, Call this first render. I know it's safe and down here I get to select the formats. So if I change the format from a tiff format, that's a to J. Peg on. All sorts of different formats are here as well. I'm gonna choose J pic and then next to the four months here, there's a little triangle. If I click on this, it will let me control the settings off that J peg as well. For example, I can come down here towards this quality on it can increase its all the way to 100%. That's going to give me a better file quality again. It's gonna be slightly larger. That's the same with anything instead of my 40. If things look good, they're gonna take longer to render, and usually they'll end up being larger files as well. And then the rest of the far settings are all here. And once you're happy with this, you just go and close this Render settings window here before you do. Of course, you need to make sure that the save button here is turned on and save here is turned on, and you gave it a specific file path. Otherwise it won't save. Then once you're done, you're just going close. This there's no saving or exporting that happens inside the render settings dialog box. This is only to set the settings off the Renda. So I'm gonna go close this to actually render this. I need to press shift are so this renders it to the picture viewer. And when this finishes, I'm going to have myself a final render. That's called First Render, and we have my friend Count here as well defies amounts. I'm going to speed up this parts. We're going to sit there and wait until this is done. And once this is done, I now hear myself the first render that I can now use anywhere I like. It's a J peg on to see where this is. If I just go and right, click on it and then I can click on here. It's a show file in Explorer or finder on. Here's my final render. That's how easy it is to export something or render something out from Cinema 40. You just need to make sure that the render settings are set correctly, and then in the end, you just press shift our to the surrender to the picture viewer 88. Conclusion: And that's it, folks. Congratulations and well done for keeping up with me until the very end. I hope this course has been helpful in inspiring for you. And I cannot wait to see what you create skills you've learned on this course. Thanks again for your time. And I'll see you on the next course.